The Ohio State University at Lima

English Courses Spring 2020

English Courses Spring 2020

See English 4578, Special Topic in Film: Peter Weir

Unless otherwise indicated, the prerequisite for a 2000- or 3000-level course is English 1110 or an equivalent.

Unless otherwise indicated, the prerequisite for a 4000- or 5000-level course is two English courses at the 2000- or 3000-level (200-300 level under quarters) or permission of the instructor; a 2367 (367) course in any department can substitute for one of the English courses.

English 2201 British Literature-Med-1800 3 Credits

Power. Heroism. Sexuality. Religion. These are among the concerns of literature studied in English 2201, which surveys major literary texts from the late 7th century until the dawn of the Romantic period at the end of the eighteenth century. We will consider this literature in its historical contexts and explore changing literary conventions and styles. The course will feature "close reading" of selected texts. These will include Beowulf; selections from Chaucer’s Canterbury Tales, Milton’s Paradise Lost, and Swift’s Gulliver’s Travels; Shakespeare’s Othello, and poetry by Shakespeare and Donne, among others.

Required for English majors.

Fulfills GE requirement for Arts and Humanities literature class.
Fulfills GE requirements for Diversity – Global Studies.

MWF 9:05-10:00 or MWF 10:10-11:05 Beth Sutton-Ramspeck

English 2275 Thematic Approaches to Literature: Harry Potter 3 Credits

This is a class about the Harry Potter books, designed both to introduce them to first-time readers and to offer new perspectives on the series to life-long fans. We will examine the literary techniques and cultural roots of the novels, exploring such themes as coming of age, the quest, and the nature of heroism. In addition we will consider why the books are so popular, as well as why they have been condemned as dangerous, addressing them as social commentaries and as reflections of contemporary attitudes towards religion, rule-breaking, power, race, class, gender, education, human and animal rights, sports, celebrity, and so on. Yes, we will read all seven books. Because we will be studying the books closely, students are strongly encouraged to write in their books; please purchase paperbacks you don’t mind marking up . Graded work: two papers, final exam, brief response papers, quizzes, group exercises.

Fulfills GE requirement for Arts and Humanities literature class.

MWF 11:15-12:10 Beth Sutton-Ramspeck

English 2281 Introduction to African-American Literature 3 Credits

Cross-Listed As: AFAM/AST 2281

A study of representative literary works by African American writers from 1760 to the present.

Fulfills GE requirement for Arts and Humanities literature class.
Fulfills GE requirement for Social Diversity.

T/TH 11:15-12:35 Zak Nyongesa

English 2290 Colonial and U.S. Literature 3 Credits

English 2290 offers an introduction to American literature from its colonial period to the mid-nineteenth century. In the course of our readings, we will examine in what ways both colonial and the U.S. literary texts reflect the ideologies and lives of our predecessors. We will address topics such as the role of religion and dissent in colonial literature, the literary and legal debates over race and slavery, concerns over economic opportunity, and women’s rights. We will read a range of genres: poems, short stories, sermons, captivity narratives, and slave narratives. In addition, we will discuss literary works of Native American tribes.

Required for English majors

Fulfills the GE requirement for Arts and Humanities literature class.

TuTh 9:30-10:50 Gosia Gabrys

English 2291 U.S. Literature from 1865 to the Present 3 Credits

In English 2291, we will study together how American literary texts since 1865 both embrace and challenge concepts of the American Dream. In addition to looking at economic versions of the dream, we will analyze the dreams and nightmares of American individualism, heroism, idealism, social justice, human dignity, home and family, and sexuality. Often we will examine how the assigned works negotiate the competing values of conformity and rebellion. Works we will study will include Cormac McCarthy’s post-apocalyptic novel The Road and the film American Beauty (director: Sam Mendes).

Fulfills GE requirement for Arts and Humanities literature class.
Fulfills the Post-1800 Survey Course Requirement for English Majors

MWF 2:30-3:25 Doug Sutton-Ramspeck

English 4565 Advanced Fiction Writing 3 Credits

Authors, editors, and creative writing teachers often talk at length about the value of creating original voices in the writing of fiction, but what, exactly, does that mean? In this class—designed for students who have some experience writing stories—we will explore together the nature of distinctive voices and how students might develop their own personal styles. To assist in these discussions, we will engage in writing exercises and workshops. Throughout all of our endeavors, students will be encouraged to be creative, to take chances, and to enjoy the process of writing stories. By the end of the semester, students will have completed (and designed) a small chapbook of fiction.

Note to English Majors: fulfills the requirement for a course in an area of English study other than literature. Fulfills an upper-level requirement for the Creative Writing minor. Because this class is “by permission only,” please send an email to to request joining the class.

MWF 1:25-2:20 Doug Sutton-Ramspeck

English 4578 Special Topic in Film: Peter Weir 3 Credits

Director Peter Weir first gained fame with Picnic at Hanging Rock (1975), an eerily sensuous tale of Victorian-era schoolgirls gone missing in the Australian outback. Equally unsettling is his political drama The Year of Living Dangerously (1982), which follows the love story in a foreign land between an ambitious Australian wire-service reporter (Mel Gibson) and a beautiful British attaché (Sigourney Weaver). Lured from his own native Australia to Hollywood, Weir followed these and other international successes with the romantic crime-thriller Witness (1985), in which a wounded Philadelphia police detective (Harrison Ford) falls in love with a widowed Amish mother while hiding in her community from corrupt officials. Weir would proceed to make a jungle adventure drama ( The Mosquito Coast), a romantic comedy ( Green Card), a teen movie (Dead Poets Society), a sci-fi satire ( The Truman Show), and a swashbuckling Napoleonic-era sea epic ( Master and Commander: The Far Side of the World). Whatever the genre, Weir brought to it his trademark emotional complexity as he explored his favorite themes of culture clash and social upheaval. Requirements: two papers, class participation.

Tuesday 2:30-5:20, Thursday 2:30-3:50 John Hellmann

Other Classes Taught By English Faculty Spring Term

COMPSTD 2281 American Icons 3 Credits

“Sports Icons” is a critical and expository popular culture course that examines the significance of U.S. sports as a platform for social justice and better race relations. The course will begin with Jackie Robinson’s 1947 signing with the Brooklyn Dodgers, which ushered in the modern era of Major League Baseball integration. From Robinson, the course’s scholarly analysis will focus on the impact of 1960s activism of legendary athletes such as Muhammad Ali and Cleveland Browns’ Hall of Fame running back Jim Brown. The course will culminate with an examination of the community activism of present athletes LeBron James and former Buckeye safety Malcolm Jenkins, who is the co-founder of the NFL’s Players Coalition. Students will gain a better understanding of how these athletes use their social capital, wealth, and influence to lessen the impact of educational and economic disparities in underserved communities.

Fulfills the GE requirement for Cultures and Ideas and Diversity: Social Diversity in the US.

MWF 9:05-10:00 Jessica Johnson

Film Studies 2367.01 The American Film Auteur 3 Credits

He was famous during his long career as the Master of Suspense. The movie director Alfred Hitchcock has long since come to be recognized as an incomparable auteur (French for “author”) of cinematic masterpieces. We will examine the intriguing plot device Hitchcock called the MacGuffin, consider his lucid explanation of the difference between shock and suspense, and discover how such entertaining films as Rear Window and Psycho can possess such unexpected depths of meaning. If you sign up, expect to develop your skills in expository reading and writing. Also expect to enhance your analytic skills in visual literacy. All the while, you will learn about the art and influence of one of the supreme artists of the cinema. Requirements: four papers, class participation.

Fulfills GE requirement for Writing and Communication Level 2.

TuTh 11:15-12:35 John Hellmann

Film Studies 2367.02 The American Film Genre 3 credits

Between 1941 and 1955, a new genre of crime film filled the American movie screen. In this jagged mirror, viewers watched a man move through a nightmare world of dark alleys, narrow stairways, and flashing neon lights, confronting the allure of glamorous femme fatales. Classics such as Gun Crazy, Phantom Lady, and Kiss Me Deadly share labyrinthine plots full of violence, sex, greed, and complex time frames. French critics dubbed these works film noir, literally “black film.” The original cycle all but died out as the hardened attitudes and confused aftermath of World War II softened amid the affluence of the Eisenhower 1950s and renewed confidence of the Kennedy era. But in the wake of Vietnam and Watergate, the genre resurfaced in the mid-1970s. With a curious mixture of nostalgia and imaginative originality, neo-noirs such as Body Heat , Blue Velvet, and Pulp Fiction self-consciously reference the original film noir to frame their modern stories of spreading cynicism toward our institutions. Requirements: four papers, class participation.

Fulfills GE requirement for Writing and Communication Level 2.

TuTh 9:30-10:50 John Hellmann