Andrea D Gustavson

Writing, reading, and discussion on an American studies topic, with emphasis on the evaluation of information, analytical reading, and critical writing. Three lecture hours a week for one semester. May be repeated for credit when the topics vary.

The relationship between representation and “reality” has been grappled with by authors and photographers since the invention of photography in the nineteenth century. This course explores the intersection of American literature and photography from the late nineteenth century to the present, focusing on the camera as a central technology in the making of modernity. We will read novels, short stories, critical texts and will consider the work of several photographers, analyzing each artists’ ways of representing the world within the contexts of shifting social and cultural orders. We will consider several key questions:  How has photography altered our understanding of American history and culture?  How have American authors responded to photography, represented the act of image-making, or marshaled the power of photographs for their works of literature?  How does a photograph impact our understanding of a written work?  How does writing about a photograph change our perception of the image?  In an increasingly image-saturated culture, how does an artist visually and textually represent his or her reality? How is a photograph or manuscript framed by digital and institutional archives and how do these collections shape understandings of the texts?

 This course places the archive—both physical and digital—at the center of our exploration of visual and textual works. Questions about the power of archives to frame understanding, to delimit self and Other, and to constitute and challenge the terms of national, regional, or social belonging will guide our inquiry. We will cover the relationship between photography, literature and several key topics in American cultural history including: the construction of identity, the family, nation and empire, race and ethnicity, gender and sexuality, literary genres, and cultural memory.  We will consider a broad range of sources from paintings to carte-de-visite to digital images, from novels and shorts stories about photography to critical theories of photography.  This class will be partnered with the Harry Ransom Center so that we may draw on special collections material for course content and make use of digital classrooms and online environments to construct and interpret our own collections of text and images. Because this is a writing intensive course, we will study the writing process as we practice close textual analysis and the crafting of arguments across many forms of written and visual communication.                 

Requirements

Two-Page Paper #1                                                      10%

Two-Page Paper #2                                                      10%

Blog Postings and Conferences                                         20%

Lead Class Discussion                                                    10%

Final Paper (5 pages)                                                    15%

Final Paper Revision (7 pages)                                         35%

Possible Texts

Sanora Babb, Whose Names Are Unknown

Raymond Chandler, The Big Sleep

Ralph Ellison, Invisible Man

Course Reader

Flag(s): Writing

The relationship between representation and “reality” has been grappled with by authors and photographers since the invention of photography in the nineteenth century. This course explores the intersection of American literature and photography from the late nineteenth century to the present, focusing on the camera as a central technology in the making of modernity. We will read novels, short stories, critical texts and will consider the work of several photographers, analyzing each artists’ ways of representing the world within the contexts of shifting social and cultural orders. We will consider several key questions:  How has photography altered our understanding of American history and culture?  How have American authors responded to photography, represented the act of image-making, or marshaled the power of photographs for their works of literature?  How does a photograph impact our understanding of a written work?  How does writing about a photograph change our perception of the image?  In an increasingly image-saturated culture, how does an artist visually and textually represent his or her reality? How is a photograph or manuscript framed by digital and institutional archives and how do these collections shape understandings of the texts?

This course places the archive—both physical and digital—at the center of our exploration of visual and textual works. Questions about the power of archives to frame understanding, to delimit self and Other, and to constitute and challenge the terms of national, regional, or social belonging will guide our inquiry. We will cover the relationship between photography, literature and several key topics in American cultural history including: the construction of identity, the family, nation and empire, race and ethnicity, gender and sexuality, literary genres, and cultural memory.  We will consider a broad range of sources from paintings to carte-de-visite to digital images, from novels and shorts stories about photography to critical theories of photography.  This class will be partnered with both the Harry Ransom Center and the Digital Writing and Reading Lab so that we may draw on special collections material for course content and make use of digital classrooms and online environments to construct and interpret our own collections of text and images. Because this is a writing intensive course, we will study the writing process as we practice close textual analysis and the crafting of arguments across many forms of written and visual communication.                 

Requirements

Two-Page Paper #1                       10%

Two-Page Paper #2                       10%

Blog Postings and Conferences       20%

Lead Class Discussion                    10%

Final Paper (5 pages)                     15%

Final Paper Revision (7 pages)        35%

Possible Texts

Sanora Babb, Whose Names Are Unknown

Raymond Chandler, The Big Sleep

Ralph Ellison, Invisible Man

Course Reader

Flag(s): Writing

Multiple meeting times and sections. Please consult the Course Schedule for unique numbers.

This does NOT meet the Writing Flag requirement.

This composition course provides instruction in the gathering and evaluation of information and its presentation in well-organized expository prose. Students ordinarily write and revise four papers. The course includes instruction in invention, arrangement, logic, style, revision, and strategies of research.

Course centered around the First-Year Forum (FYF) selected readings. Students focus on the foundational knowledge and skills needed for college writing. In addition, they are introduced to basic rhetoric terms and learn to rhetorically analyze positions within controversies surrounding the FYF readings.

RHE 306 is required of all UT students. Contact the Measurement and Evaluation Center, 2616 Wichita (471-3032) to petition for RHE 306 credit.