Graduate Courses: Spring 2017

ENG 444 | Technical Editing

Rachel Spilka
Section 1 (U/G) | Online

Whether or not you will ever have the job title of “editor” in the future, if you pursue a career in professional or technical communication, chances are strong that editing will be a critical skill set for you in just about every job you take on. For example, you might be asked to check and correct the grammar of a supervisor’s in-house memo; to make substantive changes to a technical manual written by a team of engineers; or to publish a linguistically, stylistically, and visually effective company website. All these situations and more will put you into the role of “editor.”

The primary goal of this course is to prepare you to edit both simple and complex nonfiction documentation in future work contexts. The secondary goal is to help you better understand the roles and responsibilities of editors, how editors contribute to document quality, how editors relate to others during a document’s life cycle, and what is involved in becoming a successful editor.

Of course, the scope of editing tasks can vary dramatically: In some cases, editors “fix up” minor grammatical and usage errors (copyediting); in other cases, editors question, “re-envision,” and then reshape major aspects of a document such as its purposes, target audiences, content, style, organization, and design (comprehensive editing). This course will cover the full spectrum of editing done in work contexts. During the first two-thirds of the course, you will do individual work in copyediting and comprehensive editing; during the final third of the course, you will work in a small team of 2 or 3 to do both copyediting and comprehensive editing of a suite of documents for an actual client.

Required Course Texts:

  • Carolyn Rude and Angela Eaton, Technical Editing. 5th New York: Pearson Education, 2010
  • Judith Tarutz, TechnicalEditing: The Practical Guide for Editors andWriters. New York: Hewlett-Packard Press, 1992
  • The Chicago Manual of Style. 16th Chicago: U. Chicago Press, 2010

For more information, contact Rachel Spilka at

ENG 616 | Advanced Workshop in Poetry: Poem Series

Brenda Cardenas
Section 1 | T, 3:30 PM – 6:10 PM


This course will focus on the creation, critique, and revision of student poems written in series that explore particular subjects/themes and/or forms/approaches (for example, a sonnet cycle; lyric sequence; or series of prose, collage or aleatory poems). By working in series and presenting two-three poems at a time for workshop, students may begin to form sections of a potential chapbook or longer project. To this end, we also examine and discuss published collections comprised of poem series to analyze how the poems in each series are juxtaposed to one another and how they might compliment, converse with, or act as counterpoint to one another. We will also explore the tensions and effects that emerge from their arrangements and combinations. With a partner, each student will present a critical response to and lead discussion on one of the required books. Students will also complete and submit a manuscript of revised poems produced during the semester with a critical introduction that explores the student’s poetics, approach and influences in creating this particular project.


Senior standing or greater; English 416(P); one of a second section of English 416(P), 414(P), or 415(P); or Graduate standing; or Special Students.


Herrera, Juan Felipe and Artemio Rodriguez. Loteria Cards and Fortune Poems: A Book of Lives. City Lights Books, 1999. ISBN-13: 978-0872863590.

Kearney, Douglas. The Black Automaton. Fence Books, 2009. ISBN-13: 978-1-934200-28-5.

Lindemann, Emilie. mother-mailbox. Misty Publications, 2016. ISBN: 978-1-5323-1275-5.

Ong, Monica. Silent Anatomies. Core Press, 2015. ISBN: 978-1-888553-69-7.

Santos Perez, Craig. from Unincorporated Territory [Saina]. Richmond: Omnidawn

Publishing, 2010. ISBN-13: 978-1890650469. $15.95

(All texts listed above will be available for purchase at UWM’s online bookstore as well as at Woodland Pattern Book Center, 720 E. Locust St., Milwaukee, WI 53212. Ph: 414-263-5011. Hours: 11am – 8pm Tues. through Fri., and 12pm – 5pm Sat. and Sun.)

Readings posted as PDFs on D2L (Content area) are also required. You will be asked to bring them to class on their due dates as indicated on the course calendar.

For more information, contact Brenda Cardenas at

ENG 704 | Teaching Creative Writing

Valerie Laken
Section 1 | W 4:30 PM – 7:10 PM

This course is designed to help graduate students develop theoretical expertise as well as practical training in the teaching of creative writing. We will focus primarily on the teaching of poetry and fiction, but students who wish to focus on other genres (nonfiction, drama, screenwriting, visual lit, etc.) are encouraged to do so. No prior experience teaching creative writing is required; discussions and assignments will be tailored to each student’s level of experience. Our goal is to help each student refine his/her own philosophy of teaching and develop effective and innovative strategies for implementing it. Topics of discussion will include:

  • History and trends in creative writing pedagogy.
  • New frameworks and inventive methods for teaching creative writing.
  • Ethical, philosophical, and socio-political challenges involved in the teaching of writing.
  • Effective course planning.
  • Techniques for maximizing student engagement in and outside class.
  • Effective and sustainable strategies for critiquing and assessing student work.
  • Career planning and job market preparation, including cover letters and teaching portfolios.
  • Developing a teaching strategy that aligns with carefully considered goals and principles.
Major Texts:
– Power & Identity in the Creative Writing Classroom: The Authority Project. Ed. Anna Leahy
– The Program Era by Mark McGurl

For more information, contact Valerie Laken at

ENG 740 | Approaches to the Modern I

Mark Netzloff
Section 1 | T 3:30 PM – 6:10 PM

This course provides a survey of foundational texts in cultural theory, political philosophy, and historicist criticism. We will focus on critical works whose analyses are grounded in a study of the early modern period (ca. 1500-1800) in order to explore some of the complex and overarching genealogies of the modern.

The course fulfills requirements for a pre-1800 course for MA and Ph.D. students in the Literature and Cultural Theory program, and is also a required course for Plan A doctoral students. In addition, nearly all of the readings are represented on one or more reading lists of the Literature and Cultural Theory program’s preliminary examination areas, such as Cultural Theory, Theories of Modernism and Modernity, and Political Theory/Philosophy, among other fields.

Among the topics to be discussed:


  • Political theory and its early modern foundations, with sessions on models of the nation, public sphere, sovereignty, as well as the concept of the political itself. Readings will include Anderson, Habermas, Schmitt, and Weber.
  • Key works of Foucault, with special attention to his late work on political theory and lectures on race, governmentality, and biopower.
  • The late work of Derrida and his engagement with early modern political theory (on such topics as sovereignty, political theology, friendship, and hospitality).
  • Theories of democracy and the multitude, along with the relatively understudied and problematic phenomenon of populism (Marx’s Eighteenth Brumaire).
  • Periodization, modernity, and models of temporality. Readings will include Benjamin, Latour, Serres, and others.
  • Colonial history and theories of modernity, with readings from Bhabha, Chakrabarty, Gates, and Spivak.


For more information, contact Mark Netzloff at

ENG 755 | Issues in Composition Studies: The Global Turn in Rhetoric and Composition

Shevaun Watson
Section 1 | T 3:30 PM – 6:10 PM

This seminar will investigate what has been termed “the global turn” in Rhetoric and Composition from a variety of historical, theoretical and pedagogical perspectives. The field has recently witnessed a surge of attention in the increasingly multilingual and transnational dimensions of higher education, which, as Wendy Hesford argues in the 2006 issue of PMLA, calls for “new collaborations and frameworks, broader notions of composing practices, critical literacies that are linked to global citizenship, a reexamination of existing protocols and divisions, and the formation of new critical frameworks in light of a changing world.”

Over the past decade, the global turn has brought much new scholarship to light, including challenges to English-only policies and myths of linguistic homogeneity; investigations of English’s diversity and heteroglossic nature in the US and around the world; examinations of disciplinary divides between ESL and composition; new approaches to contrastive rhetorics; histories of English writing instruction in non-Western cultures; studies of writing programs and writing instruction worldwide; and much more.

For more information, contact Shevaun Watson at

ENG 778 | Native American Literature: Native Image, Native Resistance in Literature, Art and Film

Kimberly M. Blaeser
Section 1 | W 3:30 PM – 6:10 PM

Students in this course will explore the “commodified” Indian of history and contemporary culture, the embodiments of resistance in Native arts including film, photography, and literature, and how these artistic strategies of survivance may spill into artistic activism. Our course materials will include selections by authors such as Gordon Henry, Natalie Diaz, Gerald Vizenor, Louis Owens, Deborah Miranda, Santee Frazier, Laura Da, and Simon Ortiz and as well work by artists, musicians, filmmakers, and photographers including Victor Masayesva, Lee Marmon, Zig Jackson, Colleen Cutschall, Joy Harjo, and Thomas King.

As we study and interpret the materials, we will employ scholarly essays by Phil Deloria, Lucy Lippard, Gerald Vizenor, Dean Rader, and others to help us develop a critical vocabulary, analyze culturally grounded aesthetics, and identify the historical issues and political struggles surrounding the representation and/or misrepresentation of Indigenous identities and experiences. In our analysis, we will take account of the roles of cultural irony, Native humor, and trickster consciousness, as well as of adaptive strategies that employ forms of social media or hypertext.

For more information, contact Kimberly M. Blaeser at