LMC Course Descriptions

 

ENGL 1101 F – English Composition I

Credit Hours: 3
Instructor: Rachel Dean-Ruzicka
Location: Skiles 123
Days and Times: TTH 9:30-10:45
Description: Freshman English I.
Catalog Info: ENGL 1101: Autobiographical Graphic Novels Our course will explore graphic novels that cover a variety of topics: the Holocaust (Maus), the Civil Rights Movement (March), mental illness (Marbles), and disability (El Deafo). We will examine multimodal communication through the written and visual elements of graphic novels. Our multimodal projects will include creating our own autobiographical graphic narrative, Pecha Kucha presentations that contextualize our texts, and a video review project.

ENGL 1102 A – English Composition II

Credit Hours: 3
Instructor: Katie Homar
Location: Skiles 314
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Romantic Life: Authors and Scientists in the Age of Imagination “What is life?” asks Mary Shelley’s iconic scientist Victor Frankenstein and so did many of Shelley’s contemporaries known as the Romantic writers. This course explores the fertile intersection of literature and science in the British Romantic era, the early 1800s, when both scientists and literary authors explored the origins, nature, and porous boundaries of life in its many forms. Far from simply celebrating nature, these authors were deeply invested in the era’s scientific and technological advancements, driven by questions that still drive us today: How do innovations help and harm life? What obligations do authors and scientists have to communicate complex ideas with the public? How to best represent scientific ideas in literary writing? Starting with Shelley’s Frankenstein, often termed an early science fiction novel, we’ll explore the fragility, ambiguity, and wonder of Romantic life from the mythological worlds created by Mary’s husband Percy Shelley, William Blake, Samuel Taylor Coleridge, and John Keats, to the perilous lives in early industrial London depicted in Thomas De Quincey’s memoirs. We’ll also learn about the perspectives of the scientists who were the contemporaries and even personal friends of these visionary artists. As we explore the fruitful connections between Romantic literature and science, we’ll use research and WOVEN communication techniques to consider how the insights of the Romantic era can help us make sense of science and technology today. In the Romantic era, science and literature were both sites of experimentation as authors, inventors, and thinkers pushed the boundaries of knowledge and art. As you hone research and WOVEN communication skills, you, too, will experiment through writing, electronic annotation, infographics, video, and more.

ENGL 1102 A2 – English Composition II

Credit Hours: 3
Instructor: Lauren Neefe
Location: Skiles 170
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Sound Poetics x Sound Politics This course requires students to build on the WOVEN strategies of composition and process they began to develop in ENGL 1101. The content of the course asserts the importance of sound to our experience of the spaces we live in. We begin by building a vocabulary for recognizing and analyzing sounds in what R. Murray Schafer called a “soundscape” and by paying closer attention to how we hear and listen to our environment. A second unit uses the critical controversies surrounding the Romantic lyric poem, exemplified by William Wordsworth's "Tintern Abbey," to examine the sonic qualities of poetry and the soundscapes represented in them. If we think of a poem as a place, what are the political stakes of sound and voice in defining that space? Who belongs in a place and who doesn’t? Modeled on the Ivan Allen College Building Memories podcast, a final project will involve researching the politics of sound and place in locations around Georgia Tech and Atlanta, including the Living Building newly under construction. Divided into small teams, the class will pitch, storyboard, and produce podcast episodes about the sites and sounds they investigate. A final reflective portfolio will select and assemble individual artifacts and process documents to demonstrate rhetorical improvement.

ENGL 1102 A3 – English Composition II

Credit Hours: 3
Instructor: Andrew Eichel
Location: Skiles 311
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Why Fantasy and Science Fiction Matter We live in a world that many previous generations could hardly have imagined, and developments in science continue to make this century potentially the most expansive in terms of technological advancement. Although we are immersed in the Internet and nearly dependent on various smart devices, we are also more obsessed than ever with that which lies outside the boundaries of contemporary science and our understanding of reality. We call it many things: science fiction, speculative fiction, fantasy literature–more generally, it is the “fantastic.” Fantasy fills our TVs and movie screens, it populates our phone, computer, and console games, and it is one of the most popular literary genres. Why? Why is Game of Thrones the most successful TV series of all time? Why are comic book characters now the driving force in Hollywood? Why, when we have the fruits of technology and scientific progress everywhere around us, must we resort to fictions that rely on non-mimetic aesthetics and styles? Some people claim the fantastic is mere escapism—we use it to flee from reality and this is a bad thing because reality is all we have. Others argue instead that fantasy allows us to imagine a better world in order to improve our own. In this course, we will embark on an investigation of what fantasy is (and what it isn’t), why our brains seem to be hardwired to enjoy it, and what role it has in a technologically advanced society. We will discuss everything from ancient myths to superhero movies, Disney to The Lord of the Rings. This is not a literature class so we will focus on what writers, intellectuals, teachers, scientists, artists, and critics have said or written. To properly conduct these investigations, you will complete a number of individual and group projects that improve your fluency in the WOVEN modalities by enhancing your knowledge of a wide array of rhetorical, stylistic, and communication strategies.

ENGL 1102 A4 – English Composition II

Credit Hours: 3
Instructor: Kate Holterhoff
Location: Skiles 317
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Victorian Digital Humanities This course is designed to build on the critical thinking and composition strategies learned in ENGL 1101 by introducing students to key concepts in visual culture and digital humanities through the fictions and legacy of nineteenth-century British author H. Rider Haggard. The field of digital humanities has revolutionized the type of questions academics ask about texts, history, aesthetics, and culture. This course introduces students to the histories and principles of digital humanities using electronic literature, algorithmic analysis, archival studies, and new media. In order to better understand how ideas of remediation and computational cultures that have fundamentally restructured epistemologies of information, students will explore several examples of the tools, formats, and infrastructure that continue to revolutionize the creation and dissemination of knowledge production. By focusing specifically on ideas of design as they relate to user experience, visual rhetorics, screen culture, and image archives, students will be able to address how design acts as both social practice and intervention. Using case studies, workshops, and group projects this course provides experience assessing primary sources using computational methods. Students enrolled in this course will be evaluated on their successful engagement with course outcomes in rhetoric, process, and multimodality through the completion of written assignments as well as multimodal and digital projects.

ENGL 1102 A5 – English Composition II

Credit Hours: 3
Instructor: McKenna Rose
Location: Clough Commons [CULC] 123
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Bad Collections Stockpiles of nuclear weapons, a surfeit of trash in landfills, record high accrual of greenhouse gasses in the atmosphere, eighty-five percent of global wealth concentrated in just ten percent of its occupants: these are just some bad collections that threaten the continued existence of life on earth. The dangers that these collections pose are obvious, so why is it so hard to disarm, reduce, and redistribute? Why can’t we clean up the messes we make? What if we can’t clean-up because the messes we make compromise human agency? What if we are already incorporate in the bad collections that overwhelm us? To answer these questions, and meet the course goals, we will analyze and practice strategies for communicating ideas about bad collections to a range of audiences across a variety of platforms. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies for articulating your own ideas about excessive accumulation, and the means through which those collections are transmitted. To investigate ways that dangerous assemblages from the past figure the present and the future, we will analyze William Shakespeare’s Hamlet and J.G. Ballard’s The Drowned World, as well as contemporary theory by authors such as Jane Bennett, Jeffrey Cohen, and Tim Morton. Over the course of the semester, you will compose a series of blog posts, film an introductory video, respond to reading quizzes, design a poster, write a literary analysis essay, produce a collaborative archival project, and curate all major assignments into a final, multimedia portfolio.

ENGL 1102 B – English Composition II

Credit Hours: 3
Instructor: Dorothea Coblentz
Location: Clough Commons [CULC] 123
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: Defending Society Is reading fiction safe? While picking up the latest bestseller may not seem like a risky venture, the influence of the fictional worlds encountered through literature has been an enduring source of anxiety in the history of Western thought. Defending Society begins with Sir Philip Sidney’s famous early work of literary criticism, Defense of Poesy (1595). We will explore why Sidney and his contemporaries felt that poesy, or fictional writing, needed defending in the first place – who attacks fiction and why? What makes literature dangerous, whom does it threaten, and what were seen as its most alarming aspects? To answer these questions, we will read through controversial texts – and reactions to them – from the Renaissance to the twenty-first century. Our readings draw from works such as Ben Jonson’s comedy, Bartholomew Fair, Eliza Haywood’s novella Fantomina, and John Milton’s political poetry. Students will develop their expertise in written, oral, visual, electronic, and nonverbal (WOVEN) modes of communication through a series of assignments. These projects include a research paper, a PechaKucha-style presentation, a collaborative web project, and a final portfolio. Throughout, students will practice asking, researching, and answering original questions

ENGL 1102 B2 – English Composition II

Credit Hours: 3
Instructor: Patrick Ellis
Location: Clough Commons [CULC] 131
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: Media Archaeology This class will explore a new way of looking at the history of media and technology. With one foot firmly in the past, and another far into the future, we will use old media to better understand new media, and vice versa. We will examine media that is dead, imaginary, and ephemeral. Week by week, our focus will alternate between old media technologies and cutting edge ones: from the panorama painting to VR, from Pong to the PS4, from 3D film to the 3D printer, from the Ferris wheel to the drone. Assignments will be analogously multimodal, and will improve your written, oral, visual, electronic, and nonverbal communication skills. We will go on a number of field trips—down into a map archive, over to a paper museum, up to the top of a skyscraper. A special focus will be reserved for moving images, for games, and for aerial views. As Walter Benjamin once said: those who “wish to garner fresh perspectives must be immune to vertigo.”

ENGL 1102 B2 – English Composition II

Credit Hours: 3
Instructor: Bethany Jacobs
Location: Hall 103
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: African American Rhetorics of Resistance From the earliest days of American slavery, black people in America have been prolific producers of literature, music, and art. Such work has significantly contributed to genres like the slave narrative, the essay, the speech, music, and even science fiction. This course will examine these contributions as rhetorical tools, i.e. forms of communication intent on a specific goal: racial justice. As the artists and writers we explore confront segregation, legal discrimination, environmental racism, and more, we will examine the strategies they use and the supports upon which they rely, which include not only art, but community, religion, education, and the law.

ENGL 1102 B3 – English Composition II

Credit Hours: 3
Instructor: Courtney Hoffman
Location: Hall 106
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: Harry Potter and the Material Object Though we often believe that we, as individuals, are separate entities from the things in our lives, everyday objects – books, computers, phones, silverware, clothing – are integrated parts of our lives and existences. In this course, we’ll consider how J.K. Rowling’s Harry Potter series, a cultural phenomenon that has affected a wide audience in the twenty years since it was first published, transcending age, gender, race, and class barriers, portrays objects and the interactions between objects and characters in Rowling’s novels. Materiality functions much differently in the fictional Wizarding World than in reality, so that a book or a broomstick might engage with a character independently of their wishes, and things (with a few exceptions) can be created, erased, or transformed with a thought. We’ll be reading the novels and exploring some theories of human/object interactions, as well as learning new ways to think about the material world and communicating those idea through multiple modes, both digital and analog. Students will design and create their own material objects, present them to an audience, and analyze how objects and humans’ interactions with them can reveal meaning and significance in both fictional worlds and the world which we inhabit. Things are everywhere – how are we connected to our things, and how are they becoming part of ourselves?

ENGL 1102 B4 – English Composition II

Credit Hours: 3
Instructor: Darcy Mullen
Location: Skiles 169
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: The Rhetoric and Poetics of Dirt This course asks students to examine what we talk about when we talk about “dirt,” and how do the things we communicate about dirt change its presence in our lives. The major assignments facilitate learning goals through four units: dirt vs. soil, earthworks, dirt as story, and trendy dirt. The primary texts in this course will largely deal with a North American perspective on dirt. We will engage with American film (ex: Grapes of Wrath, Waterworld, Noma, Interstellar, The Martian, the Mad Max megaverse), contemporary American literature (Jesmyn Ward’s Salvage the Bones), Poetry@Tech events and those poets’ works (Aimee Nezhukumatathil, Christopher Collins, Bruce McEverStuart, Dischell, David Bottoms, and Tarfia Faizullah). Our shared vocabulary for discussing the written, oral, visual, electronic and nonverbal transferals of meaning will come from a selection of sources {selection from: Civilization and its Discontents (Freud), Imperial Leather (Anne McClintock), Rural Literacies (Eileen Schell), “What are people for?” (Wendell Berry), Dirt: The Erosion of Civilizations (David R. Montgomery), and Ecospeak: Rhetoric and environmental politics in America (Killingsworth, and Palmer)}.

ENGL 1102 B5 – English Composition II

Credit Hours: 3
Instructor: Rebekah Fitzsimmons
Location: Clough Commons [CULC] 127
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: The History and Rhetoric of Science Writing for Children Books for children, both fiction and non-fiction, can address scientific principles in creative ways in an attempt to educate, inform and excite young children. Hidden inside many classic children’s texts are broad scientific concepts like climate change (Cloudy with a Chance of Meatballs), engineering (The Three Little Pigs), life cycles (The Very Hungry Caterpillar), and environmentalism (The Lorax). Other newer texts, like Babies Love Quarks are designed to help entice even the youngest children to love science, as a response to the STEM “crisis” in American education. In this writing course, students will embrace the rhetorical challenges of addressing complex scientific principles in visually appealing formats and child friendly language through research, annotation, presentation, and creation. Students enrolled in this section should plan to (as Miss Frizzle says in the Magic School Bus series) “Take chances, make mistakes, get messy!" As a class, we will explore the historical scope of science writing for children by interacting with digital archives of children’s books from the 1800s. Students will engage in original research on authors of science books for children, focusing on authors who are largely unrecognized or texts that have fallen out of circulation. Students will make their research public through social media (i.e. keeping a research journal on Twitter) and public dissemination of information (i.e. creating or editing Wikipedia pages, presenting information to the class orally). Students will use this research, as well as visual analysis and digital annotation, to create an online exhibition of historical science texts for children. These exhibitions will require students to place the text into historical, scientific, and technological context; students might add notations about the developments in book publishing apparent in the text, the evolution of the scientific theories advanced in

ENGL 1102 B6 – English Composition II

Credit Hours: 3
Instructor: Christina Colvin
Location: Skiles 311
Days and Times: MWF 11:15-12:05pm
Description: Freshman English II.
Catalog Info: Nature's Rhetoric This course explores how local institutions—including businesses, nonprofit organizations, and our own campus—variously advance and challenge received ideas about nature and sustainability. By analyzing the public-facing, multimodal rhetoric of these institutions, we will ask: how suitable are these ideas for a consideration of the complex environmental issues of our present age? Specifically, students in this course will analyze how projects at Georgia Tech (the Living Building project) as well as businesses and nonprofit organizations across Atlanta (including Zoo Atlanta, the Georgia Aquarium, Trees Atlanta, the West Atlanta Watershed Alliance, and others) conceive of “nature” and humans’ relationship to it. We will also examine several contemporary literary texts (poetry, creative nonfiction, and a novel) to advance and complicate our discussion of key concepts. Throughout this course, students will practice how to structure and support arguments, engage in inquiry-driven research, produce meaning through situation-appropriate language, genre, and design choices, and critically reflect on our rhetorical strategies and the strategies of others. This course trains students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through informal and formal writing assignments, collaborative work, in-class discussion, group excursions, volunteer work, and presentations, as well as the use of a variety of digital tools

ENGL 1102 B7 – English Composition II

Credit Hours: 3
Instructor: Kate Holterhoff
Location: Skiles 308
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: Victorian Digital Humanities This course is designed to build on the critical thinking and composition strategies learned in ENGL 1101 by introducing students to key concepts in visual culture and digital humanities through the fictions and legacy of nineteenth-century British author H. Rider Haggard. The field of digital humanities has revolutionized the type of questions academics ask about texts, history, aesthetics, and culture. This course introduces students to the histories and principles of digital humanities using electronic literature, algorithmic analysis, archival studies, and new media. In order to better understand how ideas of remediation and computational cultures that have fundamentally restructured epistemologies of information, students will explore several examples of the tools, formats, and infrastructure that continue to revolutionize the creation and dissemination of knowledge production. By focusing specifically on ideas of design as they relate to user experience, visual rhetorics, screen culture, and image archives, students will be able to address how design acts as both social practice and intervention. Using case studies, workshops, and group projects this course provides experience assessing primary sources using computational methods. Students enrolled in this course will be evaluated on their successful engagement with course outcomes in rhetoric, process, and multimodality through the completion of written assignments as well as multimodal and digital projects.

ENGL 1102 B8 – English Composition II

Credit Hours: 3
Instructor: Lauren Neefe
Location: Skiles 171
Days and Times: MWF 11:15am-12:05pm
Description: Freshman English II.
Catalog Info: Sound Poetics x Sound Politics This course requires students to build on the WOVEN strategies of composition and process they began to develop in ENGL 1101. The content of the course asserts the importance of sound to our experience of the spaces we live in. We begin by building a vocabulary for recognizing and analyzing sounds in what R. Murray Schafer called a “soundscape” and by paying closer attention to how we hear and listen to our environment. A second unit uses the critical controversies surrounding the Romantic lyric poem, exemplified by William Wordsworth's "Tintern Abbey," to examine the sonic qualities of poetry and the soundscapes represented in them. If we think of a poem as a place, what are the political stakes of sound and voice in defining that space? Who belongs in a place and who doesn’t? Modeled on the Ivan Allen College Building Memories podcast, a final project will involve researching the politics of sound and place in locations around Georgia Tech and Atlanta, including the Living Building newly under construction. Divided into small teams, the class will pitch, storyboard, and produce podcast episodes about the sites and sounds they investigate. A final reflective portfolio will select and assemble individual artifacts and process documents to demonstrate rhetorical improvement.

ENGL 1102 C – English Composition II

Credit Hours: 3
Instructor: Lauren Neefe
Location: Skiles 308
Days and Times: MWF 8:00am-8:50am
Description: Freshman English II.
Catalog Info: Sound Poetics x Sound Politics This course requires students to build on the WOVEN strategies of composition and process they began to develop in ENGL 1101. The content of the course asserts the importance of sound to our experience of the spaces we live in. We begin by building a vocabulary for recognizing and analyzing sounds in what R. Murray Schafer called a “soundscape” and by paying closer attention to how we hear and listen to our environment. A second unit uses the critical controversies surrounding the Romantic lyric poem, exemplified by William Wordsworth's "Tintern Abbey," to examine the sonic qualities of poetry and the soundscapes represented in them. If we think of a poem as a place, what are the political stakes of sound and voice in defining that space? Who belongs in a place and who doesn’t? Modeled on the Ivan Allen College Building Memories podcast, a final project will involve researching the politics of sound and place in locations around Georgia Tech and Atlanta, including the Living Building newly under construction. Divided into small teams, the class will pitch, storyboard, and produce podcast episodes about the sites and sounds they investigate. A final reflective portfolio will select and assemble individual artifacts and process documents to demonstrate rhetorical improvement.

ENGL 1102 C1 – English Composition II

Credit Hours: 3
Instructor: Dorothea Coblentz
Location: Skiles 311
Days and Times: MWF 8:00am-8:50am
Description: Freshman English II.
Catalog Info: Defending Society Is reading fiction safe? While picking up the latest bestseller may not seem like a risky venture, the influence of the fictional worlds encountered through literature has been an enduring source of anxiety in the history of Western thought. Defending Society begins with Sir Philip Sidney’s famous early work of literary criticism, Defense of Poesy (1595). We will explore why Sidney and his contemporaries felt that poesy, or fictional writing, needed defending in the first place – who attacks fiction and why? What makes literature dangerous, whom does it threaten, and what were seen as its most alarming aspects? To answer these questions, we will read through controversial texts – and reactions to them – from the Renaissance to the twenty-first century. Our readings draw from works such as Ben Jonson’s comedy, Bartholomew Fair, Eliza Haywood’s novella Fantomina, and John Milton’s political poetry. Students will develop their expertise in written, oral, visual, electronic, and nonverbal (WOVEN) modes of communication through a series of assignments. These projects include a research paper, a PechaKucha-style presentation, a collaborative web project, and a final portfolio. Throughout, students will practice asking, researching, and answering original questions

ENGL 1102 C2 – English Composition II

Credit Hours: 3
Instructor: Julie Weng
Location: Hall 103
Days and Times: MWF 8:00am-8:50am
Description: Freshman English II.
Catalog Info: Lost in Neverland: A Survey of British Literature This course will introduce students to British literature. Rather than focus on a single genre or time period, we will read a variety of forms from different ages, including medieval poetry, renaissance drama, Victorian fiction, and modernist prose. Although these readings will not take us directly to “Neverland,” through them, we will travel into distant geographies of the past. We will aim to understand not just the forms of our texts but also their historical contexts. As this range of readings sweeps us into new settings, we will question how these settings and literary forms characterized their generations. What about them spoke to their original audiences? How do they speak to us today? As a class, we will produce projects that likewise prompt us to consider our own settings, forms, and audiences. These multimodal assignments will challenge us to grapple with how our own written, oral, visual, electronic, and nonverbal forms of communication may represent our texts and reveal new insights into British literature at large.

ENGL 1102 C3 – English Composition II

Credit Hours: 3
Instructor: Rebekah Fitzsimmons
Location: Hall 106
Days and Times: MWF 8:00am-8:50am
Description: Freshman English II.
Catalog Info: The History and Rhetoric of Science Writing for Children Books for children, both fiction and non-fiction, can address scientific principles in creative ways in an attempt to educate, inform and excite young children. Hidden inside many classic children’s texts are broad scientific concepts like climate change (Cloudy with a Chance of Meatballs), engineering (The Three Little Pigs), life cycles (The Very Hungry Caterpillar), and environmentalism (The Lorax). Other newer texts, like Babies Love Quarks are designed to help entice even the youngest children to love science, as a response to the STEM “crisis” in American education. In this writing course, students will embrace the rhetorical challenges of addressing complex scientific principles in visually appealing formats and child friendly language through research, annotation, presentation, and creation. Students enrolled in this section should plan to (as Miss Frizzle says in the Magic School Bus series) “Take chances, make mistakes, get messy!" As a class, we will explore the historical scope of science writing for children by interacting with digital archives of children’s books from the 1800s. Students will engage in original research on authors of science books for children, focusing on authors who are largely unrecognized or texts that have fallen out of circulation. Students will make their research public through social media (i.e. keeping a research journal on Twitter) and public dissemination of information (i.e. creating or editing Wikipedia pages, presenting information to the class orally). Students will use this research, as well as visual analysis and digital annotation, to create an online exhibition of historical science texts for children. These exhibitions will require students to place the text into historical, scientific, and technological context; students might add notations about the developments in book publishing apparent in the text, the evolution of the scientific theories advanced in

ENGL 1102 C4 – English Composition II

Credit Hours: 3
Instructor: Courtney Hoffman
Location: Clough Commons [CULC] 123
Days and Times: MWF 8:00am-8:50am
Description: Freshman English II.
Catalog Info: Harry Potter and the Material Object Though we often believe that we, as individuals, are separate entities from the things in our lives, everyday objects – books, computers, phones, silverware, clothing – are integrated parts of our lives and existences. In this course, we’ll consider how J.K. Rowling’s Harry Potter series, a cultural phenomenon that has affected a wide audience in the twenty years since it was first published, transcending age, gender, race, and class barriers, portrays objects and the interactions between objects and characters in Rowling’s novels. Materiality functions much differently in the fictional Wizarding World than in reality, so that a book or a broomstick might engage with a character independently of their wishes, and things (with a few exceptions) can be created, erased, or transformed with a thought. We’ll be reading the novels and exploring some theories of human/object interactions, as well as learning new ways to think about the material world and communicating those idea through multiple modes, both digital and analog. Students will design and create their own material objects, present them to an audience, and analyze how objects and humans’ interactions with them can reveal meaning and significance in both fictional worlds and the world which we inhabit. Things are everywhere – how are we connected to our things, and how are they becoming part of ourselves?

ENGL 1102 D – English Composition II

Credit Hours: 3
Instructor: Amy King
Location: Clough Commons [CULC] 127
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: Haunted Americas In this section of English 1102, we will engage with the theme of hauntings in the United States. Films and writing from various temporal and cultural contexts will lead us to explore questions such as: How have representations of cultural “outsiders” changed throughout time? How have the literatures and artwork of people colonized in the U.S. appropriated and transformed popular myths for their own purposes? How do “the colonized” attempt to work through the unspeakable atrocities of history via representations of a haunting past? Using Bram Stoker’s Dracula as a starting point for our study, we will question popular understandings of how the “outsider” invades cultures, and from there we will move into deciphering how other “haunting” presences—such as ghosts and vampires—in twentieth and twenty-first century fiction and films operate within the context of colonization in the U.S. The projects for this course will result in a diverse portfolio that might include, but will not be limited to, forum responses, PowerPoint presentations, annotated scene analyses, and scholarly video essays. Students will work toward a team project that examines a culturally “haunted” space in Atlanta.

ENGL 1102 D2 – English Composition II

Credit Hours: 3
Instructor: Jennifer Forsthoefel
Location: Clough Commons [CULC] 123
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: Fact, Fiction, and the Women’s Liberation Movement In this class, we will study fiction set during the women’s liberation movement by authors such as Alix Kates Shulman, Marilyn French, and Marge Piercy. We will examine these fictional accounts in light of feminist history, theory, journalism, scholarship, and various popular culture and multimedia portrayals of women’s liberation to understand the ways in which feminism was understood and defined and how that influences our definitions at the present moment. We will consider questions such as: What has it meant to be a feminist in the past? How is that definition similar to and different from what it means today? Who is the authority on what constitutes feminism and what makes communities identify with or distance themselves from the label “feminist”? How much do fictional narratives or messages about feminism in media and culture affect our own experiences of it? Have these narratives or portrayals or images changed over time? As a class, we will read, view, and listen to a variety of "texts" that inquire after these issues, and we will create various artifacts (using our WOVEN curriculum) that raise questions, provide depth personally and academically, and analyze the issues and the cultural artifacts.

ENGL 1102 D3 – English Composition II

Credit Hours: 3
Instructor: Anna Ioanes
Location: Clough Commons [CULC] 125
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: Afterlives of Slavery: Note: this course will be taught as a hybrid course, meaning that a significant percentage of class meetings will be conducted online. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, Electronic, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies of others and discerning the most successful strategies for articulating your own ideas. Emerging from Saidiya Hartman's insight that the legacy of transatlantic slavery has profoundly shaped contemporary political and cultural life, this class will explore how writers, artists, and performers respond to and remake that legacy. “Afterlives of Slavery” is a course about how our understanding of the past is mediated and even remade through cultural forms. By analyzing the rhetorical strategies and implicit arguments artists and writers make about how to represent a past that is at once inaccessible and immediate, we will hone cultural literacy and expand our repertoire of of interpretive and creative strategies. The course will consider the affordances of creative genres for responding to the social and material legacy of slavery and the ways representations shape our understanding of the contemporary world. Assignments will contribute to a digital encyclopedia documenting contemporary portrayals of transatlantic slavery.

ENGL 1102 D4 – English Composition II

Credit Hours: 3
Instructor: Hyeryung Hwang
Location: Hall 106
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: The Stranger The stranger leaves and enters space without appearing to alter it. Not necessarily alien (darker than others, speaking a different language, misunderstood), the stranger nevertheless has no home, wanders even as he or she stays. Is this the paradigm of the artist? Does the artist play the role of the alien, the foreign, the pariah? And how do our interactions with strangers affect our suspicious, ethical, or exotic fascination with other worlds? This course will discuss the inquiries to examine the ways representations of the stranger shape our understanding of the contemporary world. The goal of this course is to address rhetorical principles, research practices, and multimodal composition so that students can be more capable readers and writers, listeners and speakers, collaborators, viewers and designers in a variety of settings. With this goal in mind, we will complete projects that enhance our written, oral, visual, electronic, and nonverbal (WOVEN) communication skills while honing our ability to think and talk critically about the ways we perceive others and interact with them in our globalized world. Along with the WOVENText, which will serve as our guide to multimodal communication, we will use a wide variety of genres, including fiction, short essays, TV show clips, journal articles, films, and digital texts. As we discuss the materials, we will create diverse projects employing WOVEN modes: critical analysis and reflection papers, archiving digital collections, blog posts and responses, poster assignment, multimodal portfolio, and collaborative video projects. Working on these projects, students will learn to develop a process of writing, explore diverse contexts and styles of reading, write in appropriate academic genres and computer media to communicate with different audiences, and practice disciplines of research and study.

ENGL 1102 D5 – English Composition II

Credit Hours: 3
Instructor: Kathy Harrison
Location: Skiles 171
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: Sensational Bodies in Nineteenth-Century Literature With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies through the lens of nineteenth-century sensation fiction, which was meant to shock its audiences. We'll define "sensation" as a literary and cultural term, and will ask such questions as: What makes a (physical or textual) body “sensational”? Are all bodies sensational in some ways? With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies in the Victorian period, asking such questions as: What makes a body “normal” or “natural”? In what ways can bodies be construed as “unnatural” or “odd”? Are not all bodies, in some ways, “odd”? How do Victorian representations of odd bodies echo discussions of bodies today? While sensational bodies are our topic and Victorian England is our setting, our goals concern communication and critical thinking. You will use the course topic to hone your understanding of the various rhetorical processes involved in effective communication.

ENGL 1102 D6 – English Composition II

Credit Hours: 3
Instructor: Jeffrey Fallis
Location: Skiles 170
Days and Times: TR 1:30pm-2:45pm
Description: Freshman English II.
Catalog Info: "I Too Dislike It": Poetry and Its Discontents What is poetry, exactly? What is it for? What does it do that other types of writing or art don't? Why do so many people actively dislike (even hate) it, and why do so many people also actively love it? What about it is so polarizing and unique? Beginning our discussion with two recent books of popular criticism, Ben Lerner's 2016 "The Hatred of Poetry" and Matthew Zapruder's 2017 "Why Poetry?", we will attempt a brief survey of the complex landscape of 21st-century American poetry and also examine some of the high (and low) landmarks of poetry, mostly in English, in the nineteenth and twentieth centuries. Students will attend Poetry@Tech readings, write poems of their own, and create multimodal representations of individual volumes of poetry. To break things up a bit, we will also read at least one novel by/about a poet and watch at least one movie by/about a poet, as well. Emily Dickinson said that poetry made her "feel physically like the top of [her] head were taken off." Robert Frost said it's "what gets lost in translation." Marianne Moore called poetry "all this fiddle" but also said that it's where we can find "imaginary gardens with real toads in them." The composer John Cage said, "I have nothing to say, and I am saying it, and that is poetry as I needed it." By the end of the semester, we will add our own definitions, divagations, opinions, and complaints about poetry to theirs.

ENGL 1102 E1 – English Composition II

Credit Hours: 3
Instructor: Casey Wilson
Location: Hall 106
Days and Times: MWF 3:00pm-3:50pm
Description: Freshman English II.
Catalog Info: The New American Girl Since the inception of the teenager in the United States in the 1940s, the teenage girl has maintained a fraught relationship with those who wish to discuss her. She is both praised as an insightful trendsetter and dismissed as a flighty fangirl; she is deemed shallow and frivolous but is also recognized for her limitless potential. In the twenty-first century, these dividing lines between dismissal and expectation have only grown more entrenched, with the internet and social media placing on display the best and the worst examples of what it is to be a teenage girl in the United States. In this course, we will seek to redefine the American teenage girl as she exists today. Through a combination of young adult novels, television, magazines, and other media, we will challenge our notions of who the “stereotypical” teenage girl has historically been—white, cisgender, heterosexual, middle-class, able-bodied—and try to replace them with a more representative vision of who the teenage girl has become. We will use the WOVEN curriculum to engage with this topic of conversation, making our communication work as diverse and multifaceted as the subject of our course.

ENGL 1102 E2 – English Composition II

Credit Hours: 3
Instructor: Bradley Rittenhouse
Location: Skiles 307
Days and Times: MWF 3-3:50
Description: Freshman English II.
Catalog Info: Science Fiction/Political Reality In this course, we will be taking a comparative look at the science fiction/speculative visions of Aldous Huxley’s Brave New World and George Orwell’s 1984, interrogating the extent to which either/both resemble our contemporary world. Working through academic Neil Postman’s assertion that “Orwell feared the truth would be concealed from us; Huxley feared the truth would be drowned in a sea of irrelevance,” we will look primarily at the phenomena of public discourse and news entertainment, developing competencies in information literacy, research, and critical thinking. No single course can teach you all there is to know about becoming a “good communicator.” Instead, this course will teach you to inquire, to read, to understand, to question, and to come to one’s own conclusions on a variety of different subjects and mediums, and communicate these ideas well. While we will be working through classic sci-fi and speculative texts, the main objective is to learn to think and communicate in an effective manner. Unlike many “writing” courses you may have taken in the past, this course stresses GA Tech’s WOVEN concept, incorporating written, oral, verbal, electronic, and nonverbal forms of communication.

ENGL 1102 F1 – English Composition II

Credit Hours: 3
Instructor: Kathy Harrison
Location: Hall 106
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Sensational Bodies in Nineteenth-Century Literature With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies through the lens of nineteenth-century sensation fiction, which was meant to shock its audiences. We'll define "sensation" as a literary and cultural term, and will ask such questions as: What makes a (physical or textual) body “sensational”? Are all bodies sensational in some ways? With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies in the Victorian period, asking such questions as: What makes a body “normal” or “natural”? In what ways can bodies be construed as “unnatural” or “odd”? Are not all bodies, in some ways, “odd”? How do Victorian representations of odd bodies echo discussions of bodies today? While sensational bodies are our topic and Victorian England is our setting, our goals concern communication and critical thinking. You will use the course topic to hone your understanding of the various rhetorical processes involved in effective communication.

ENGL 1102 F2 – English Composition II

Credit Hours: 3
Instructor: Andrew Marzoni
Location: Skiles 156
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: The Beat Generation This course will study the theory and practice of writing and communication through the contributions of the Beat Generation. We will read key texts by the literary movement’s core members––Jack Kerouac, Allen Ginsberg, and William S. Burroughs––as well as its lesser-known figures, predecessors, and heirs: from LeRoi Jones/Amiri Baraka and Diane di Prima to Patti Smith and Kathy Acker. We will trace the history and legacy of the Beats by following the lectures of Ginsberg’s own course on the subject, which he taught at universities across the U.S. (compiled in 2017’s The Best Minds of My Generation: A Literary History of the Beats). We will consider documentary films, journalism, and periodicals from the era alongside more recent Hollywood adaptations of Howl, On the Road, and Naked Lunch. We will encounter coterminous happenings in the arts (the New York schools of poetry, painting, and film; bebop and rock and roll) at museums, archives, concerts, and readings; track the Beats’ wanderings from Manhattan to San Francisco, Paris to Tangier, Calcutta to Mexico City; and experiment with their literary techniques––all in the effort of discovering what this queer formation of Cold War discontent can teach us about 21st-century communication practices in addition to American cultural history. Assignments and class discussions will emphasize written, oral, visual, electronic, and nonverbal communication, and the course will culminate in a digital portfolio.

ENGL 1102 F3 – English Composition II

Credit Hours: 3
Instructor: Anna Ioanes
Location: Skiles 171
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Afterlives of Slavery: Note: this course will be taught as a hybrid course, meaning that a significant percentage of class meetings will be conducted online. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, Electronic, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies of others and discerning the most successful strategies for articulating your own ideas. Emerging from Saidiya Hartman's insight that the legacy of transatlantic slavery has profoundly shaped contemporary political and cultural life, this class will explore how writers, artists, and performers respond to and remake that legacy. “Afterlives of Slavery” is a course about how our understanding of the past is mediated and even remade through cultural forms. By analyzing the rhetorical strategies and implicit arguments artists and writers make about how to represent a past that is at once inaccessible and immediate, we will hone cultural literacy and expand our repertoire of of interpretive and creative strategies. The course will consider the affordances of creative genres for responding to the social and material legacy of slavery and the ways representations shape our understanding of the contemporary world. Assignments will contribute to a digital encyclopedia documenting contemporary portrayals of transatlantic slavery.

ENGL 1102 F4 – English Composition II

Credit Hours: 3
Instructor: Amy King
Location: Skiles 169
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Haunted Americas In this section of English 1102, we will engage with the theme of hauntings in the United States. Films and writing from various temporal and cultural contexts will lead us to explore questions such as: How have representations of cultural “outsiders” changed throughout time? How have the literatures and artwork of people colonized in the U.S. appropriated and transformed popular myths for their own purposes? How do “the colonized” attempt to work through the unspeakable atrocities of history via representations of a haunting past? Using Bram Stoker’s Dracula as a starting point for our study, we will question popular understandings of how the “outsider” invades cultures, and from there we will move into deciphering how other “haunting” presences—such as ghosts and vampires—in twentieth and twenty-first century fiction and films operate within the context of colonization in the U.S. The projects for this course will result in a diverse portfolio that might include, but will not be limited to, forum responses, PowerPoint presentations, annotated scene analyses, and scholarly video essays. Students will work toward a team project that examines a culturally “haunted” space in Atlanta.

ENGL 1102 F5 – English Composition II

Credit Hours: 3
Instructor: Leah Misemer
Location: Skiles 168
Days and Times: MWF 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Comics and Civic Engagement: Atlanta’s West Side You may think comics an odd fit for serious issues, but many organizations--from the UN to the Alzheimer's Association--and authors have begun using them to explore and educate on such topics as the refugee crisis, medical issues, and violence against women. Why have these organizations turned to the comics form to communicate with their audiences? How does comics’ alchemical combination of text and image lend itself to discussions of social problems and their solutions, particularly regarding urban development? How can you use comics to engage members of your community? Answering these questions will help you gain a better understanding of the role text and image can play in communication, and selecting what to represent via text and image when making comics will help you learn how to more effectively use the tools at your disposal in today’s multimedia landscape. In this course, you will explore how comics become tools for civic engagement and craft your own research-based comic about a topic related to Atlanta’s underserved West Side (just 1.5 miles from campus). The course will culminate in an exhibition designed to raise awareness about the issues and assets of this community. We will be focusing on comics as a mode of inquiry and communication, so no artistic skill is required. By the end of the course, you will be able to make thoughtful decisions about how to choose the right mode of communication—speaking, writing, or images—for a particular context.

ENGL 1102 F6 – English Composition II

Credit Hours: 3
Instructor: Hyeryung Hwang
Location: Clough Commons [CULC] 131
Days and Times: TR 9:30am-10:
Description: Freshman English II.
Catalog Info: The Stranger The stranger leaves and enters space without appearing to alter it. Not necessarily alien (darker than others, speaking a different language, misunderstood), the stranger nevertheless has no home, wanders even as he or she stays. Is this the paradigm of the artist? Does the artist play the role of the alien, the foreign, the pariah? And how do our interactions with strangers affect our suspicious, ethical, or exotic fascination with other worlds? This course will discuss the inquiries to examine the ways representations of the stranger shape our understanding of the contemporary world. The goal of this course is to address rhetorical principles, research practices, and multimodal composition so that students can be more capable readers and writers, listeners and speakers, collaborators, viewers and designers in a variety of settings. With this goal in mind, we will complete projects that enhance our written, oral, visual, electronic, and nonverbal (WOVEN) communication skills while honing our ability to think and talk critically about the ways we perceive others and interact with them in our globalized world. Along with the WOVENText, which will serve as our guide to multimodal communication, we will use a wide variety of genres, including fiction, short essays, TV show clips, journal articles, films, and digital texts. As we discuss the materials, we will create diverse projects employing WOVEN modes: critical analysis and reflection papers, archiving digital collections, blog posts and responses, poster assignment, multimodal portfolio, and collaborative video projects. Working on these projects, students will learn to develop a process of writing, explore diverse contexts and styles of reading, write in appropriate academic genres and computer media to communicate with different audiences, and practice disciplines of research and study.

ENGL 1102 F9 – English Composition II

Credit Hours: 3
Instructor: Jennifer Forsthoefel
Location: Clough Commons [CULC] 127
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Fact, Fiction, and the Women’s Liberation Movement In this class, we will study fiction set during the women’s liberation movement by authors such as Alix Kates Shulman, Marilyn French, and Marge Piercy. We will examine these fictional accounts in light of feminist history, theory, journalism, scholarship, and various popular culture and multimedia portrayals of women’s liberation to understand the ways in which feminism was understood and defined and how that influences our definitions at the present moment. We will consider questions such as: What has it meant to be a feminist in the past? How is that definition similar to and different from what it means today? Who is the authority on what constitutes feminism and what makes communities identify with or distance themselves from the label “feminist”? How much do fictional narratives or messages about feminism in media and culture affect our own experiences of it? Have these narratives or portrayals or images changed over time? As a class, we will read, view, and listen to a variety of "texts" that inquire after these issues, and we will create various artifacts (using our WOVEN curriculum) that raise questions, provide depth personally and academically, and analyze the issues and the cultural artifacts.

ENGL 1102 G – English Composition II

Credit Hours: 3
Instructor: Katie Homar
Location: Skiles 314
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Romantic Life: Authors and Scientists in the Age of Imagination “What is life?” asks Mary Shelley’s iconic scientist Victor Frankenstein and so did many of Shelley’s contemporaries known as the Romantic writers. This course explores the fertile intersection of literature and science in the British Romantic era, the early 1800s, when both scientists and literary authors explored the origins, nature, and porous boundaries of life in its many forms. Far from simply celebrating nature, these authors were deeply invested in the era’s scientific and technological advancements, driven by questions that still drive us today: How do innovations help and harm life? What obligations do authors and scientists have to communicate complex ideas with the public? How to best represent scientific ideas in literary writing? Starting with Shelley’s Frankenstein, often termed an early science fiction novel, we’ll explore the fragility, ambiguity, and wonder of Romantic life from the mythological worlds created by Mary’s husband Percy Shelley, William Blake, Samuel Taylor Coleridge, and John Keats, to the perilous lives in early industrial London depicted in Thomas De Quincey’s memoirs. We’ll also learn about the perspectives of the scientists who were the contemporaries and even personal friends of these visionary artists. As we explore the fruitful connections between Romantic literature and science, we’ll use research and WOVEN communication techniques to consider how the insights of the Romantic era can help us make sense of science and technology today. In the Romantic era, science and literature were both sites of experimentation as authors, inventors, and thinkers pushed the boundaries of knowledge and art. As you hone research and WOVEN communication skills, you, too, will experiment through writing, electronic annotation, infographics, video, and more.

ENGL 1102 G1 – English Composition II

Credit Hours: 3
Instructor: Nicholas Sturm
Location: Skiles 171
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Poetry, Painting, Film, and Music in New York City, 1960-Present This course will utilize poetry, painting, film, and music from New York-based writers and artists to explore the multimodal languages of American art practices. By activating the etymological root between the words experiment and experience -- "experiri," meaning "to try or to test" – this course will try and test various creative and critical approaches to the arts to gain both an experiential and historical understanding of aesthetic innovation in the global cultural center of New York over the last half century. Utilizing our WOVEN curriculum, students will engage with visual and nonverbal design through trips to Atlanta's High Museum of Art and Arts@Tech events, create data visualization projects to track developing trends across genres and mediums, and experiment in hands-on creative practices with era-specific technologies to produce their own original cultural artifacts. Artists such as Eileen Myles, Andy Warhol, Amiri Baraka, The Velvet Underground, Ana Mendieta, Jay-Z, and Alex Katz will populate the syllabus.

ENGL 1102 G3 – English Composition II

Credit Hours: 3
Instructor: Patrick Ellis
Location: Skiles 170
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Media Archaeology This class will explore a new way of looking at the history of media and technology. With one foot firmly in the past, and another far into the future, we will use old media to better understand new media, and vice versa. We will examine media that is dead, imaginary, and ephemeral. Week by week, our focus will alternate between old media technologies and cutting edge ones: from the panorama painting to VR, from Pong to the PS4, from 3D film to the 3D printer, from the Ferris wheel to the drone. Assignments will be analogously multimodal, and will improve your written, oral, visual, electronic, and nonverbal communication skills. We will go on a number of field trips—down into a map archive, over to a paper museum, up to the top of a skyscraper. A special focus will be reserved for moving images, for games, and for aerial views. As Walter Benjamin once said: those who “wish to garner fresh perspectives must be immune to vertigo.”

ENGL 1102 G4 – English Composition II

Credit Hours: 3
Instructor: McKenna Rose
Location: Hall 106
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Bad Collections Stockpiles of nuclear weapons, a surfeit of trash in landfills, record high accrual of greenhouse gasses in the atmosphere, eighty-five percent of global wealth concentrated in just ten percent of its occupants: these are just some bad collections that threaten the continued existence of life on earth. The dangers that these collections pose are obvious, so why is it so hard to disarm, reduce, and redistribute? Why can’t we clean up the messes we make? What if we can’t clean-up because the messes we make compromise human agency? What if we are already incorporate in the bad collections that overwhelm us? To answer these questions, and meet the course goals, we will analyze and practice strategies for communicating ideas about bad collections to a range of audiences across a variety of platforms. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies for articulating your own ideas about excessive accumulation, and the means through which those collections are transmitted. To investigate ways that dangerous assemblages from the past figure the present and the future, we will analyze William Shakespeare’s Hamlet and J.G. Ballard’s The Drowned World, as well as contemporary theory by authors such as Jane Bennett, Jeffrey Cohen, and Tim Morton. Over the course of the semester, you will compose a series of blog posts, film an introductory video, respond to reading quizzes, design a poster, write a literary analysis essay, produce a collaborative archival project, and curate all major assignments into a final, multimedia portfolio.

ENGL 1102 G5 – English Composition II

Credit Hours: 3
Instructor: Casey Wilson
Location: Skiles 302
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: The New American Girl Since the inception of the teenager in the United States in the 1940s, the teenage girl has maintained a fraught relationship with those who wish to discuss her. She is both praised as an insightful trendsetter and dismissed as a flighty fangirl; she is deemed shallow and frivolous but is also recognized for her limitless potential. In the twenty-first century, these dividing lines between dismissal and expectation have only grown more entrenched, with the internet and social media placing on display the best and the worst examples of what it is to be a teenage girl in the United States. In this course, we will seek to redefine the American teenage girl as she exists today. Through a combination of young adult novels, television, magazines, and other media, we will challenge our notions of who the “stereotypical” teenage girl has historically been—white, cisgender, heterosexual, middle-class, able-bodied—and try to replace them with a more representative vision of who the teenage girl has become. We will use the WOVEN curriculum to engage with this topic of conversation, making our communication work as diverse and multifaceted as the subject of our course.

ENGL 1102 G6 – English Composition II

Credit Hours: 3
Instructor: Christina Colvin
Location: Skiles 311
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Nature's Rhetoric This course explores how local institutions—including businesses, nonprofit organizations, and our own campus—variously advance and challenge received ideas about nature and sustainability. By analyzing the public-facing, multimodal rhetoric of these institutions, we will ask: how suitable are these ideas for a consideration of the complex environmental issues of our present age? Specifically, students in this course will analyze how projects at Georgia Tech (the Living Building project) as well as businesses and nonprofit organizations across Atlanta (including Zoo Atlanta, the Georgia Aquarium, Trees Atlanta, the West Atlanta Watershed Alliance, and others) conceive of “nature” and humans’ relationship to it. We will also examine several contemporary literary texts (poetry, creative nonfiction, and a novel) to advance and complicate our discussion of key concepts. Throughout this course, students will practice how to structure and support arguments, engage in inquiry-driven research, produce meaning through situation-appropriate language, genre, and design choices, and critically reflect on our rhetorical strategies and the strategies of others. This course trains students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through informal and formal writing assignments, collaborative work, in-class discussion, group excursions, volunteer work, and presentations, as well as the use of a variety of digital tools

ENGL 1102 G8 – English Composition II

Credit Hours: 3
Instructor: Darcy Mullen
Location: Skiles 169
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: The Rhetoric and Poetics of Dirt This course asks students to examine what we talk about when we talk about “dirt,” and how do the things we communicate about dirt change its presence in our lives. The major assignments facilitate learning goals through four units: dirt vs. soil, earthworks, dirt as story, and trendy dirt. The primary texts in this course will largely deal with a North American perspective on dirt. We will engage with American film (ex: Grapes of Wrath, Waterworld, Noma, Interstellar, The Martian, the Mad Max megaverse), contemporary American literature (Jesmyn Ward’s Salvage the Bones), Poetry@Tech events and those poets’ works (Aimee Nezhukumatathil, Christopher Collins, Bruce McEverStuart, Dischell, David Bottoms, and Tarfia Faizullah). Our shared vocabulary for discussing the written, oral, visual, electronic and nonverbal transferals of meaning will come from a selection of sources {selection from: Civilization and its Discontents (Freud), Imperial Leather (Anne McClintock), Rural Literacies (Eileen Schell), “What are people for?” (Wendell Berry), Dirt: The Erosion of Civilizations (David R. Montgomery), and Ecospeak: Rhetoric and environmental politics in America (Killingsworth, and Palmer)}.

ENGL 1102 H1 – English Composition II

Credit Hours: 3
Instructor: John Browning
Location: Skiles 156
Days and Times: TR 3:00pm-4:15pm
Description: Freshman English II.
Catalog Info: The Slasher Film: Gender, Disability, and Transgression What is a Slasher film? Perhaps better stated: What separates the Slasher film from the Horror genre proper? To help answer this, students will trace the evolution and visual aesthetics of the Slasher film through profiling the subgenre’s killer(s) and victim typologies, locating the subgenre’s loci across rural and sub/urban settings, and identifying conventions and motifs like the “final girl.” After examining early narratological precursors like Peeping Tom (1960) and Psycho (1960), students will continue on to the film Halloween (1978), which arguably inaugurated the subgenre, and afterwards examine the decade of the 1980s during which the Slasher film found its heyday. Finally, students will ascertain the current state of the Slasher subgenre through recent reboots and other related media. Although students will be exposed to more mainstream incarnations like Friday the 13th (1980-) series, the class will also focus in equal (body) parts on a plethora of lesser known film installments (primary texts) that were produced on considerably smaller budgets. Slasher films were particularly marketed towards teenagers and young adults, and we will explore precisely how and why through secondary literature and class discussions. Other means at our disposal for investigating Slasher cinema will be an array of critical “weaponry” as it were, from Gender and Feminist Studies to Disability Studies. In the course of the semester, students will produce various written and multimodal projects and in the process enhance their written, oral, visual, electronic, and nonverbal (WOVEN) communication strategies. Note: The Slasher subgenre is notoriously sexualized and violent, so students negatively affected by either of these two themes, to any heightened degree, should avoid enrolling in this class

ENGL 1102 H6 – English Composition II

Credit Hours: 3
Instructor: Chelsea Murdock
Location: Skiles 311
Days and Times: TR 3:00pm-4:15pm
Description: Freshman English II.
Catalog Info: Standing Peachtree and Indigenous New Media In this course, we will use Georgia Tech’s WOVEN curriculum (written, oral, visual, electronic, and nonverbal modes) to engage in critical thinking, articulate clear communication, and foster rhetorical awareness. Particularly this course will focus on indigenous new media. That is, the rhetorical practices of Native/American Indian communities and how those practices “make” meaning within indigenous communities. The course will consider ancient practices (such as petroglyphs), precontract practices (such as weaving, wintercounts), and post-contact practices (such as creative and academic writing, music, video games, apps, comic books, and other multimedia compositions) using a framework of “cultural rhetorics.” By localizing class discussion as much as possible, this course will also consider how rhetorical practices are linked to local histories, place and space, and land. Before Atlanta, there was Pakanahuili, or “Standing Peachtree.” This place was once located at where Peachtree Creek meets the Chattahoochee River— not too far from the Tech campus. Now, at that location stands a water treatment plant which provides water to the city. We will place institutional texts (such as archaeological reports and water works reports) into conversation with local oral histories and Indigenous rhetorical practices to constellate various ways that the story of Standing Peachtree has been, is, and could be mediated. This course will train students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through a variety of informal and formal writing assignments, collaborative work, conversation, workshops, while likewise emphasizing new media practices. The course will use both seminar and workshop approaches to teaching.

ENGL 1102 HP1 – English Composition II

Credit Hours: 3
Instructor: Andrea Krafft
Location: Hall 103
Days and Times: TR 9:30am-10:45am
Description: Freshman English II.
Catalog Info: Evolutions “The beauty of a living thing is not the atoms that go into it, but the way those atoms are put together.” – Carl Sagan, 1990 Our section of ENGL 1102 will examine evolution as it relates to the changing face of humanity, our responsibilities as creators, and the development of other forms of life that we might identify as alien, monstrous, or weird. We will think about how our own bodies evolve (or devolve) as we merge with machines, animals, or extraterrestrials, resulting in cyborgs, speciation, and posthuman entities. By studying films like Alien and the work of authors such as Terry Bisson and Octavia Butler, we will reflect on the implications that emergent beings have for anthropocentrism and the concept of normalcy. Furthermore, we will consider how advances in biotechnology, genetic engineering, artificial intelligence, and other fields might bring to life new and formerly impossible creatures. We will not only explore multiple evolutionary pathways through science fiction and contemporary technoscientific inquiry but also articulate researched and thoughtful arguments through multimodal (or WOVEN) projects. Prospective projects for this course include a cyborg analysis of science fiction texts, an in-depth research project exploring contemporary developments in evolutionary studies, and the creation of a speculative vision of humanity’s future form.

ENGL 1102 HP2 – English Composition II

Credit Hours: 3
Instructor: Kate Holterhoff
Days and Times: MWF 12:20pm-1:10pm
Description: Freshman English II.
Catalog Info: Victorian Digital Humanities (Hefner Dormitory(HEF) 001) This course is designed to build on the critical thinking and composition strategies learned in ENGL 1101 by introducing students to key concepts in visual culture and digital humanities through the fictions and legacy of nineteenth-century British author H. Rider Haggard. The field of digital humanities has revolutionized the type of questions academics ask about texts, history, aesthetics, and culture. This course introduces students to the histories and principles of digital humanities using electronic literature, algorithmic analysis, archival studies, and new media. In order to better understand how ideas of remediation and computational cultures that have fundamentally restructured epistemologies of information, students will explore several examples of the tools, formats, and infrastructure that continue to revolutionize the creation and dissemination of knowledge production. By focusing specifically on ideas of design as they relate to user experience, visual rhetorics, screen culture, and image archives, students will be able to address how design acts as both social practice and intervention. Using case studies, workshops, and group projects this course provides experience assessing primary sources using computational methods. Students enrolled in this course will be evaluated on their successful engagement with course outcomes in rhetoric, process, and multimodality through the completion of written assignments as well as multimodal and digital projects.

ENGL 1102 HP3 – English Composition II

Credit Hours: 3
Instructor: Matthew Dischinger
Days and Times: MW 3:00pm-4:15pm
Description: Freshman English II.
Catalog Info: Atlanta Studies: Reading, Documenting, Digitizing Upon its 1939 release, Gone with the Wind became the highest grossing film of all time. Its nostalgic representation of Atlanta as America’s Southern City is among the most popular of all time, but it was certainly not the last or, dear reader, the most interesting. In our course, we will explore a range of contemporary texts depicting Atlanta that represent competing versions of the city. We will ask what these texts reveal about the near constant evolution of Atlanta as well as consider what a continued national and global interest in Atlanta can tell us about various viewing publics. As we explore these Atlanta texts, we will use digital tools to map their terrains, describe their features, and analyze their import. In addition to our work with Atlanta texts, we will work with community partners in collaboration with Serve Learn Sustain at Georgia Tech. Our work will combine ideas related to storytelling, oral history, and sustainability to broaden the scope and impact of our work in the classroom. Hefner Dormitory 001

ENGL 1102 HP4 – English Composition II

Credit Hours: 3
Instructor: Julie Weng
Location: Hall 103
Days and Times: MWF 9:05am-9:55am
Description: Freshman English II.
Catalog Info: Postcolonial Voices: "Can the Subaltern [Woman] Speak?" During the 20th century, European empires crumbled, and colonies in South Asia, Africa, and the Caribbean fought for and attained independence. Despite these victories, however, the inhabitants of these regions struggled to articulate their individual, cultural, and national identities. Our course will study this “postcolonial condition” through the lens of Gayatri Chakravorty Spivak’s seminal essay, “Can the Subaltern Speak?,” a work that she delivered first as a lecture in 1983 and published later in 1988. In the essay, Spivak meditates on hindrances that prevent people on the margins of society (which she calls "subalterns") from being heard—from being able to advocate politically on behalf of themselves and others. In particular, Spivak draws from examples of women in Indian society. But how does she answer her question?—Ambiguously. Since the publication of Spivak's essay, scholars have taken an interest in debating her question. They have also developed a wide body of criticism interested in the position of subaltern women. This turn toward women's experiences differs from practices in the past, which often spoke of colonized subjects from a “male gaze”—from a defaulted perspective of a male subject. Yet men and women experienced colonization and decolonization differently, including acts of violence, which women were often more vulnerable to, as well as the right to take part in forging new postcolonial states. By reading a range of texts written by South Asian, African, and Caribbean women writers, our course will study these women's experiences and attempt to answer Spivak's question: "Can the subaltern [woman] speak?" We will explore this question through individually- and collaboratively-composed projects that hone our multimodal communication skills, including our Written, Oral, Visual, Electronic, and Nonverbal forms of communication.

ENGL 1102 I – English Composition II

Credit Hours: 3
Instructor: John Browning
Location: Skiles 156
Days and Times: TR 4:30pm-5:45pm
Description: Freshman English II.
Catalog Info: The Slasher Film: Gender, Disability, and Transgression What is a Slasher film? Perhaps better stated: What separates the Slasher film from the Horror genre proper? To help answer this, students will trace the evolution and visual aesthetics of the Slasher film through profiling the subgenre’s killer(s) and victim typologies, locating the subgenre’s loci across rural and sub/urban settings, and identifying conventions and motifs like the “final girl.” After examining early narratological precursors like Peeping Tom (1960) and Psycho (1960), students will continue on to the film Halloween (1978), which arguably inaugurated the subgenre, and afterwards examine the decade of the 1980s during which the Slasher film found its heyday. Finally, students will ascertain the current state of the Slasher subgenre through recent reboots and other related media. Although students will be exposed to more mainstream incarnations like Friday the 13th (1980-) series, the class will also focus in equal (body) parts on a plethora of lesser known film installments (primary texts) that were produced on considerably smaller budgets. Slasher films were particularly marketed towards teenagers and young adults, and we will explore precisely how and why through secondary literature and class discussions. Other means at our disposal for investigating Slasher cinema will be an array of critical “weaponry” as it were, from Gender and Feminist Studies to Disability Studies. In the course of the semester, students will produce various written and multimodal projects and in the process enhance their written, oral, visual, electronic, and nonverbal (WOVEN) communication strategies. Note: The Slasher subgenre is notoriously sexualized and violent, so students negatively affected by either of these two themes, to any heightened degree, should avoid enrolling in this class

ENGL 1102 I2 – English Composition II

Credit Hours: 3
Instructor: Chelsea Murdock
Location: Skiles 311
Days and Times: TR 4:30pm-5:45pm
Description: Freshman English II.
Catalog Info: Standing Peachtree and Indigenous New Media In this course, we will use Georgia Tech’s WOVEN curriculum (written, oral, visual, electronic, and nonverbal modes) to engage in critical thinking, articulate clear communication, and foster rhetorical awareness. Particularly this course will focus on indigenous new media. That is, the rhetorical practices of Native/American Indian communities and how those practices “make” meaning within indigenous communities. The course will consider ancient practices (such as petroglyphs), precontract practices (such as weaving, wintercounts), and post-contact practices (such as creative and academic writing, music, video games, apps, comic books, and other multimedia compositions) using a framework of “cultural rhetorics.” By localizing class discussion as much as possible, this course will also consider how rhetorical practices are linked to local histories, place and space, and land. Before Atlanta, there was Pakanahuili, or “Standing Peachtree.” This place was once located at where Peachtree Creek meets the Chattahoochee River— not too far from the Tech campus. Now, at that location stands a water treatment plant which provides water to the city. We will place institutional texts (such as archaeological reports and water works reports) into conversation with local oral histories and Indigenous rhetorical practices to constellate various ways that the story of Standing Peachtree has been, is, and could be mediated. This course will train students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through a variety of informal and formal writing assignments, collaborative work, conversation, workshops, while likewise emphasizing new media practices. The course will use both seminar and workshop approaches to teaching.

ENGL 1102 I3 – English Composition II

Credit Hours: 3
Instructor: Jeffrey Fallis
Location: Skiles 170
Days and Times: TR 4:30pm-5:45pm
Description: Freshman English II.
Catalog Info: "I Too Dislike It": Poetry and Its Discontents What is poetry, exactly? What is it for? What does it do that other types of writing or art don't? Why do so many people actively dislike (even hate) it, and why do so many people also actively love it? What about it is so polarizing and unique? Beginning our discussion with two recent books of popular criticism, Ben Lerner's 2016 "The Hatred of Poetry" and Matthew Zapruder's 2017 "Why Poetry?", we will attempt a brief survey of the complex landscape of 21st-century American poetry and also examine some of the high (and low) landmarks of poetry, mostly in English, in the nineteenth and twentieth centuries. Students will attend Poetry@Tech readings, write poems of their own, and create multimodal representations of individual volumes of poetry. To break things up a bit, we will also read at least one novel by/about a poet and watch at least one movie by/about a poet, as well. Emily Dickinson said that poetry made her "feel physically like the top of [her] head were taken off." Robert Frost said it's "what gets lost in translation." Marianne Moore called poetry "all this fiddle" but also said that it's where we can find "imaginary gardens with real toads in them." The composer John Cage said, "I have nothing to say, and I am saying it, and that is poetry as I needed it." By the end of the semester, we will add our own definitions, divagations, opinions, and complaints about poetry to theirs.

ENGL 1102 J – English Composition II

Credit Hours: 3
Instructor: Katie Homar
Location: Skiles 314
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Romantic Life: Authors and Scientists in the Age of Imagination “What is life?” asks Mary Shelley’s iconic scientist Victor Frankenstein and so did many of Shelley’s contemporaries known as the Romantic writers. This course explores the fertile intersection of literature and science in the British Romantic era, the early 1800s, when both scientists and literary authors explored the origins, nature, and porous boundaries of life in its many forms. Far from simply celebrating nature, these authors were deeply invested in the era’s scientific and technological advancements, driven by questions that still drive us today: How do innovations help and harm life? What obligations do authors and scientists have to communicate complex ideas with the public? How to best represent scientific ideas in literary writing? Starting with Shelley’s Frankenstein, often termed an early science fiction novel, we’ll explore the fragility, ambiguity, and wonder of Romantic life from the mythological worlds created by Mary’s husband Percy Shelley, William Blake, Samuel Taylor Coleridge, and John Keats, to the perilous lives in early industrial London depicted in Thomas De Quincey’s memoirs. We’ll also learn about the perspectives of the scientists who were the contemporaries and even personal friends of these visionary artists. As we explore the fruitful connections between Romantic literature and science, we’ll use research and WOVEN communication techniques to consider how the insights of the Romantic era can help us make sense of science and technology today. In the Romantic era, science and literature were both sites of experimentation as authors, inventors, and thinkers pushed the boundaries of knowledge and art. As you hone research and WOVEN communication skills, you, too, will experiment through writing, electronic annotation, infographics, video, and more.

ENGL 1102 J1 – English Composition II

Credit Hours: 3
Instructor: Dorothea Coblentz
Location: Clough Commons [CULC] 123
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Defending Society Is reading fiction safe? While picking up the latest bestseller may not seem like a risky venture, the influence of the fictional worlds encountered through literature has been an enduring source of anxiety in the history of Western thought. Defending Society begins with Sir Philip Sidney’s famous early work of literary criticism, Defense of Poesy (1595). We will explore why Sidney and his contemporaries felt that poesy, or fictional writing, needed defending in the first place – who attacks fiction and why? What makes literature dangerous, whom does it threaten, and what were seen as its most alarming aspects? To answer these questions, we will read through controversial texts – and reactions to them – from the Renaissance to the twenty-first century. Our readings draw from works such as Ben Jonson’s comedy, Bartholomew Fair, Eliza Haywood’s novella Fantomina, and John Milton’s political poetry. Students will develop their expertise in written, oral, visual, electronic, and nonverbal (WOVEN) modes of communication through a series of assignments. These projects include a research paper, a PechaKucha-style presentation, a collaborative web project, and a final portfolio. Throughout, students will practice asking, researching, and answering original questions

ENGL 1102 J2 – English Composition II

Credit Hours: 3
Instructor: Rebekah Fitzsimmons
Location: Hall 106
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Books for children, both fiction and non-fiction, can address scientific principles in creative ways in an attempt to educate, inform and excite young children. Hidden inside many classic children’s texts are broad scientific concepts like climate change (Cloudy with a Chance of Meatballs), engineering (The Three Little Pigs), life cycles (The Very Hungry Caterpillar), and environmentalism (The Lorax). Other newer texts, like Babies Love Quarks are designed to help entice even the youngest children to love science, as a response to the STEM “crisis” in American education. In this writing course, students will embrace the rhetorical challenges of addressing complex scientific principles in visually appealing formats and child friendly language through research, annotation, presentation, and creation. Students enrolled in this section should plan to (as Miss Frizzle says in the Magic School Bus series) “Take chances, make mistakes, get messy!" As a class, we will explore the historical scope of science writing for children by interacting with digital archives of children’s books from the 1800s. Students will engage in original research on authors of science books for children, focusing on authors who are largely unrecognized or texts that have fallen out of circulation. Students will make their research public through social media (i.e. keeping a research journal on Twitter) and public dissemination of information (i.e. creating or editing Wikipedia pages, presenting information to the class orally). Students will use this research, as well as visual analysis and digital annotation, to create an online exhibition of historical science texts for children. These exhibitions will require students to place the text into historical, scientific, and technological context; students might add notations about the developments in book publishing apparent in the text, the evolution of the scientific theories advanced in the texts, or changes in the ways in which scientific dis

ENGL 1102 J3 – English Composition II

Credit Hours: 3
Instructor: Andrew Eichel
Location: Skiles 311
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Why Fantasy and Science Fiction Matter We live in a world that many previous generations could hardly have imagined, and developments in science continue to make this century potentially the most expansive in terms of technological advancement. Although we are immersed in the Internet and nearly dependent on various smart devices, we are also more obsessed than ever with that which lies outside the boundaries of contemporary science and our understanding of reality. We call it many things: science fiction, speculative fiction, fantasy literature–more generally, it is the “fantastic.” Fantasy fills our TVs and movie screens, it populates our phone, computer, and console games, and it is one of the most popular literary genres. Why? Why is Game of Thrones the most successful TV series of all time? Why are comic book characters now the driving force in Hollywood? Why, when we have the fruits of technology and scientific progress everywhere around us, must we resort to fictions that rely on non-mimetic aesthetics and styles? Some people claim the fantastic is mere escapism—we use it to flee from reality and this is a bad thing because reality is all we have. Others argue instead that fantasy allows us to imagine a better world in order to improve our own. In this course, we will embark on an investigation of what fantasy is (and what it isn’t), why our brains seem to be hardwired to enjoy it, and what role it has in a technologically advanced society. We will discuss everything from ancient myths to superhero movies, Disney to The Lord of the Rings. This is not a literature class so we will focus on what writers, intellectuals, teachers, scientists, artists, and critics have said or written. To properly conduct these investigations, you will complete a number of individual and group projects that improve your fluency in the WOVEN modalities by enhancing your knowledge of a wide array of rhetorical, stylistic, and communication strategies.

ENGL 1102 J4 – English Composition II

Credit Hours: 3
Instructor: Bethany Jacobs
Location: Hall 103
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: African American Rhetorics of Resistance From the earliest days of American slavery, black people in America have been prolific producers of literature, music, and art. Such work has significantly contributed to genres like the slave narrative, the essay, the speech, music, and even science fiction. This course will examine these contributions as rhetorical tools, i.e. forms of communication intent on a specific goal: racial justice. As the artists and writers we explore confront segregation, legal discrimination, environmental racism, and more, we will examine the strategies they use and the supports upon which they rely, which include not only art, but community, religion, education, and the law.

ENGL 1102 J5 – English Composition II

Credit Hours: 3
Instructor: McKenna Rose
Location: Clough Commons [CULC] 131
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Bad Collections Stockpiles of nuclear weapons, a surfeit of trash in landfills, record high accrual of greenhouse gasses in the atmosphere, eighty-five percent of global wealth concentrated in just ten percent of its occupants: these are just some bad collections that threaten the continued existence of life on earth. The dangers that these collections pose are obvious, so why is it so hard to disarm, reduce, and redistribute? Why can’t we clean up the messes we make? What if we can’t clean-up because the messes we make compromise human agency? What if we are already incorporate in the bad collections that overwhelm us? To answer these questions, and meet the course goals, we will analyze and practice strategies for communicating ideas about bad collections to a range of audiences across a variety of platforms. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies for articulating your own ideas about excessive accumulation, and the means through which those collections are transmitted. To investigate ways that dangerous assemblages from the past figure the present and the future, we will analyze William Shakespeare’s Hamlet and J.G. Ballard’s The Drowned World, as well as contemporary theory by authors such as Jane Bennett, Jeffrey Cohen, and Tim Morton. Over the course of the semester, you will compose a series of blog posts, film an introductory video, respond to reading quizzes, design a poster, write a literary analysis essay, produce a collaborative archival project, and curate all major assignments into a final, multimedia portfolio.

ENGL 1102 J6 – English Composition II

Credit Hours: 3
Instructor: Nicholas Sturm
Location: Skiles 171
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Poetry, Painting, Film, and Music in New York City, 1960-Present This course will utilize poetry, painting, film, and music from New York-based writers and artists to explore the multimodal languages of American art practices. By activating the etymological root between the words experiment and experience -- "experiri," meaning "to try or to test" – this course will try and test various creative and critical approaches to the arts to gain both an experiential and historical understanding of aesthetic innovation in the global cultural center of New York over the last half century. Utilizing our WOVEN curriculum, students will engage with visual and nonverbal design through trips to Atlanta's High Museum of Art and Arts@Tech events, create data visualization projects to track developing trends across genres and mediums, and experiment in hands-on creative practices with era-specific technologies to produce their own original cultural artifacts. Artists such as Eileen Myles, Andy Warhol, Amiri Baraka, The Velvet Underground, Ana Mendieta, Jay-Z, and Alex Katz will populate the syllabus.

ENGL 1102 J7 – English Composition II

Credit Hours: 3
Instructor: Courtney Hoffman
Location: Clough Commons [CULC] 127
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Harry Potter and the Material Object Though we often believe that we, as individuals, are separate entities from the things in our lives, everyday objects – books, computers, phones, silverware, clothing – are integrated parts of our lives and existences. In this course, we’ll consider how J.K. Rowling’s Harry Potter series, a cultural phenomenon that has affected a wide audience in the twenty years since it was first published, transcending age, gender, race, and class barriers, portrays objects and the interactions between objects and characters in Rowling’s novels. Materiality functions much differently in the fictional Wizarding World than in reality, so that a book or a broomstick might engage with a character independently of their wishes, and things (with a few exceptions) can be created, erased, or transformed with a thought. We’ll be reading the novels and exploring some theories of human/object interactions, as well as learning new ways to think about the material world and communicating those idea through multiple modes, both digital and analog. Students will design and create their own material objects, present them to an audience, and analyze how objects and humans’ interactions with them can reveal meaning and significance in both fictional worlds and the world which we inhabit. Things are everywhere – how are we connected to our things, and how are they becoming part of ourselves?

ENGL 1102 J8 – English Composition II

Credit Hours: 3
Instructor: Patrick Ellis
Location: Skiles 170
Days and Times: MWF 10:10am-11:00am
Description: Freshman English II.
Catalog Info: Media Archaeology This class will explore a new way of looking at the history of media and technology. With one foot firmly in the past, and another far into the future, we will use old media to better understand new media, and vice versa. We will examine media that is dead, imaginary, and ephemeral. Week by week, our focus will alternate between old media technologies and cutting edge ones: from the panorama painting to VR, from Pong to the PS4, from 3D film to the 3D printer, from the Ferris wheel to the drone. Assignments will be analogously multimodal, and will improve your written, oral, visual, electronic, and nonverbal communication skills. We will go on a number of field trips—down into a map archive, over to a paper museum, up to the top of a skyscraper. A special focus will be reserved for moving images, for games, and for aerial views. As Walter Benjamin once said: those who “wish to garner fresh perspectives must be immune to vertigo.”

ENGL 1102 K2 – English Composition II

Credit Hours: 3
Instructor: Andrew Marzoni
Location: Skiles 314
Days and Times: TR 8:00am-9:15am
Description: Freshman English II.
Catalog Info: The Beat Generation This course will study the theory and practice of writing and communication through the contributions of the Beat Generation. We will read key texts by the literary movement’s core members––Jack Kerouac, Allen Ginsberg, and William S. Burroughs––as well as its lesser-known figures, predecessors, and heirs: from LeRoi Jones/Amiri Baraka and Diane di Prima to Patti Smith and Kathy Acker. We will trace the history and legacy of the Beats by following the lectures of Ginsberg’s own course on the subject, which he taught at universities across the U.S. (compiled in 2017’s The Best Minds of My Generation: A Literary History of the Beats). We will consider documentary films, journalism, and periodicals from the era alongside more recent Hollywood adaptations of Howl, On the Road, and Naked Lunch. We will encounter coterminous happenings in the arts (the New York schools of poetry, painting, and film; bebop and rock and roll) at museums, archives, concerts, and readings; track the Beats’ wanderings from Manhattan to San Francisco, Paris to Tangier, Calcutta to Mexico City; and experiment with their literary techniques––all in the effort of discovering what this queer formation of Cold War discontent can teach us about 21st-century communication practices in addition to American cultural history. Assignments and class discussions will emphasize written, oral, visual, electronic, and nonverbal communication, and the course will culminate in a digital portfolio.

ENGL 1102 K3 – English Composition II

Credit Hours: 3
Instructor: James Howard
Location: Skiles 317
Days and Times: TR 8:00am-9:15am
Description: Freshman English II.
Catalog Info: The Medieval Fantastic Our subject in this class is the same kind of fantastic, romantic, or supernatural material that ends up in Game of Thrones, The Lord of the Rings, or any other medievalist fantasy. Medieval texts are rife with elements a modern reader would find improbable: knights who lose their head and put it back on themselves (Sir Gawain and the Green Knight), dragons who attack imprisoned women (St. Margaret of Antioch), people with faces in their chest (Mandeville's Travels), and visions of unearthly love (Julian of Norwich). These elements - fantastic though they are - often have a broader cultural and rhetorical purpose. Through the improbable these texts confront how people imagined their place in the world as well as their relationships with people across that world, from the northernmost reaches of Scotland and the coasts of North Africa to Central Asia and beyond. We will practice reading these texts as well as creating artifacts that practice WOVEN (written, oral, visual, electronic, and nonverbal) multimodal communication. These projects will range from a research article on a student website to a board game that adapts one of our texts into an experience of play. The overall goal is to make students better listeners, readers, and communicators.

ENGL 1102 L – English Composition II

Credit Hours: 3
Instructor: Casey Wilson
Location: Hall 106
Days and Times: MWF 1:55pm-2:45pm
Description: Freshman English II.
Catalog Info: The New American Girl Since the inception of the teenager in the United States in the 1940s, the teenage girl has maintained a fraught relationship with those who wish to discuss her. She is both praised as an insightful trendsetter and dismissed as a flighty fangirl; she is deemed shallow and frivolous but is also recognized for her limitless potential. In the twenty-first century, these dividing lines between dismissal and expectation have only grown more entrenched, with the internet and social media placing on display the best and the worst examples of what it is to be a teenage girl in the United States. In this course, we will seek to redefine the American teenage girl as she exists today. Through a combination of young adult novels, television, magazines, and other media, we will challenge our notions of who the “stereotypical” teenage girl has historically been—white, cisgender, heterosexual, middle-class, able-bodied—and try to replace them with a more representative vision of who the teenage girl has become. We will use the WOVEN curriculum to engage with this topic of conversation, making our communication work as diverse and multifaceted as the subject of our course.

ENGL 1102 L3 – English Composition II

Credit Hours: 3
Instructor: Christina Colvin
Location: Skiles 311
Days and Times: MWF 1:15-2:45
Description: Freshman English II.
Catalog Info: Nature's Rhetoric This course explores how local institutions—including businesses, nonprofit organizations, and our own campus—variously advance and challenge received ideas about nature and sustainability. By analyzing the public-facing, multimodal rhetoric of these institutions, we will ask: how suitable are these ideas for a consideration of the complex environmental issues of our present age? Specifically, students in this course will analyze how projects at Georgia Tech (the Living Building project) as well as businesses and nonprofit organizations across Atlanta (including Zoo Atlanta, the Georgia Aquarium, Trees Atlanta, the West Atlanta Watershed Alliance, and others) conceive of “nature” and humans’ relationship to it. We will also examine several contemporary literary texts (poetry, creative nonfiction, and a novel) to advance and complicate our discussion of key concepts. Throughout this course, students will practice how to structure and support arguments, engage in inquiry-driven research, produce meaning through situation-appropriate language, genre, and design choices, and critically reflect on our rhetorical strategies and the strategies of others. This course trains students to identify, employ, and synthesize the principles of written, oral, visual, electronic, and nonverbal (WOVEN) communication through informal and formal writing assignments, collaborative work, in-class discussion, group excursions, volunteer work, and presentations, as well as the use of a variety of digital tools

ENGL 1102 L4 – English Composition II

Credit Hours: 3
Instructor: Bethany Jacobs
Location: Clough Commons [CULC] 123
Days and Times: MWF 1:55pm-2:45pm
Description: Freshman English II.
Catalog Info: African American Rhetorics of Resistance From the earliest days of American slavery, black people in America have been prolific producers of literature, music, and art. Such work has significantly contributed to genres like the slave narrative, the essay, the speech, music, and even science fiction. This course will examine these contributions as rhetorical tools, i.e. forms of communication intent on a specific goal: racial justice. As the artists and writers we explore confront segregation, legal discrimination, environmental racism, and more, we will examine the strategies they use and the supports upon which they rely, which include not only art, but community, religion, education, and the law.

ENGL 1102 L5 – English Composition II

Credit Hours: 3
Instructor: Nicholas Sturm
Location: Clough Commons [CULC] 125
Days and Times: MWF 1:55pm-2:45pm
Description: Freshman English II.
Catalog Info: This course will utilize poetry, painting, film, and music from New York-based writers and artists to explore the multimodal languages of American art practices. By activating the etymological root between the words experiment and experience -- "experiri," meaning "to try or to test" – this course will try and test various creative and critical approaches to the arts to gain both an experiential and historical understanding of aesthetic innovation in the global cultural center of New York over the last half century. Utilizing our WOVEN curriculum, students will engage with visual and nonverbal design through trips to Atlanta's High Museum of Art and Arts@Tech events, create data visualization projects to track developing trends across genres and mediums, and experiment in hands-on creative practices with era-specific technologies to produce their own original cultural artifacts. Artists such as Eileen Myles, Andy Warhol, Amiri Baraka, The Velvet Underground, Ana Mendieta, Jay-Z, and Alex Katz will populate the syllabus.

ENGL 1102 L6 – English Composition II

Credit Hours: 3
Instructor: Joseph King
Location: Skiles 171
Days and Times: MWF 1:55pm-2:45pm
Description: Freshman English II.
Catalog Info: Building a Better World Worldbuilding is big business. Series like Game of Thrones, Star Wars, Lord of the Rings, and The Witcher have succeeded in large part because of their worlds. They provide readers, viewers, and players an interesting intellectual space to inhabit, but more than attracting fans, quality worldbuilding can reflect critically on the real world. By studying various authors’ meticulously constructed worlds, from China Miéville’s Bas Lag to the Faerun setting in Dungeons and Dragons to N.K. Jemisin’s “The Stillness,” students will explore and analyze how new worlds re-envision and replicate our world. Constructed worlds refract real cultural and political realities through invented and imaginative lenses, and by exploring and creating new realities, students will learn how to meticulously analyze and discuss imaginary worlds and their impacts on the real one. Finally, worldbuilding provides an intellectually and creatively challenging way of reflecting on the self and its place in the real world. In this course, students will write rhetorical analyses of an author’s constructed world, research how real-world issues are reflected in constructed worlds, create and analyze multimodal artifacts from a different world, and, finally, construct their own planned and critically aware world. Course texts will include Miéville’s Perdido Street Station, Jemisin’s The Fifth Season, Ursula K. Leguin’s A Wizard of Earthsea, and the Dungeons and Dragons adventure Tomb of Annihilation.

ENGL 1102 L7 – English Composition II

Credit Hours: 3
Instructor: Darcy Mullen
Location: Skiles 169
Days and Times: MWF 1:55pm-2:45pm
Description: Freshman English II.
Catalog Info: The Rhetoric and Poetics of Dirt This course asks students to examine what we talk about when we talk about “dirt,” and how do the things we communicate about dirt change its presence in our lives. The major assignments facilitate learning goals through four units: dirt vs. soil, earthworks, dirt as story, and trendy dirt. The primary texts in this course will largely deal with a North American perspective on dirt. We will engage with American film (ex: Grapes of Wrath, Waterworld, Noma, Interstellar, The Martian, the Mad Max megaverse), contemporary American literature (Jesmyn Ward’s Salvage the Bones), Poetry@Tech events and those poets’ works (Aimee Nezhukumatathil, Christopher Collins, Bruce McEverStuart, Dischell, David Bottoms, and Tarfia Faizullah). Our shared vocabulary for discussing the written, oral, visual, electronic and nonverbal transferals of meaning will come from a selection of sources {selection from: Civilization and its Discontents (Freud), Imperial Leather (Anne McClintock), Rural Literacies (Eileen Schell), “What are people for?” (Wendell Berry), Dirt: The Erosion of Civilizations (David R. Montgomery), and Ecospeak: Rhetoric and environmental politics in America (Killingsworth, and Palmer)}.

ENGL 1102 N – English Composition II

Credit Hours: 3
Instructor: Jennifer Forsthoefel
Location: Skiles 168
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: Fact, Fiction, and the Women’s Liberation Movement In this class, we will study fiction set during the women’s liberation movement by authors such as Alix Kates Shulman, Marilyn French, and Marge Piercy. We will examine these fictional accounts in light of feminist history, theory, journalism, scholarship, and various popular culture and multimedia portrayals of women’s liberation to understand the ways in which feminism was understood and defined and how that influences our definitions at the present moment. We will consider questions such as: What has it meant to be a feminist in the past? How is that definition similar to and different from what it means today? Who is the authority on what constitutes feminism and what makes communities identify with or distance themselves from the label “feminist”? How much do fictional narratives or messages about feminism in media and culture affect our own experiences of it? Have these narratives or portrayals or images changed over time? As a class, we will read, view, and listen to a variety of "texts" that inquire after these issues, and we will create various artifacts (using our WOVEN curriculum) that raise questions, provide depth personally and academically, and analyze the issues and the cultural artifacts.

ENGL 1102 N1 – English Composition II

Credit Hours: 3
Instructor: Alexandra Mazalek
Location: Skiles 269
Days and Times: MWF 12:00am-1:15am
Description: Freshman English II.
Catalog Info: Comics and Civic Engagement: Atlanta’s West Side You may think comics an odd fit for serious issues, but many organizations--from the UN to the Alzheimer's Association--and authors have begun using them to explore and educate on such topics as the refugee crisis, medical issues, and violence against women. Why have these organizations turned to the comics form to communicate with their audiences? How does comics’ alchemical combination of text and image lend itself to discussions of social problems and their solutions, particularly regarding urban development? How can you use comics to engage members of your community? Answering these questions will help you gain a better understanding of the role text and image can play in communication, and selecting what to represent via text and image when making comics will help you learn how to more effectively use the tools at your disposal in today’s multimedia landscape. In this course, you will explore how comics become tools for civic engagement and craft your own research-based comic about a topic related to Atlanta’s underserved West Side (just 1.5 miles from campus). The course will culminate in an exhibition designed to raise awareness about the issues and assets of this community. We will be focusing on comics as a mode of inquiry and communication, so no artistic skill is required. By the end of the course, you will be able to make thoughtful decisions about how to choose the right mode of communication—speaking, writing, or images—for a particular context.

ENGL 1102 N2 – English Composition II

Credit Hours: 3
Instructor: Andrew Marzoni
Location: Skiles 156
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: The Beat Generation This course will study the theory and practice of writing and communication through the contributions of the Beat Generation. We will read key texts by the literary movement’s core members––Jack Kerouac, Allen Ginsberg, and William S. Burroughs––as well as its lesser-known figures, predecessors, and heirs: from LeRoi Jones/Amiri Baraka and Diane di Prima to Patti Smith and Kathy Acker. We will trace the history and legacy of the Beats by following the lectures of Ginsberg’s own course on the subject, which he taught at universities across the U.S. (compiled in 2017’s The Best Minds of My Generation: A Literary History of the Beats). We will consider documentary films, journalism, and periodicals from the era alongside more recent Hollywood adaptations of Howl, On the Road, and Naked Lunch. We will encounter coterminous happenings in the arts (the New York schools of poetry, painting, and film; bebop and rock and roll) at museums, archives, concerts, and readings; track the Beats’ wanderings from Manhattan to San Francisco, Paris to Tangier, Calcutta to Mexico City; and experiment with their literary techniques––all in the effort of discovering what this queer formation of Cold War discontent can teach us about 21st-century communication practices in addition to American cultural history. Assignments and class discussions will emphasize written, oral, visual, electronic, and nonverbal communication, and the course will culminate in a digital portfolio.

ENGL 1102 N3 – English Composition II

Credit Hours: 3
Instructor: Amy King
Location: Skiles 169
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: Haunted Americas In this section of English 1102, we will engage with the theme of hauntings in the United States. Films and writing from various temporal and cultural contexts will lead us to explore questions such as: How have representations of cultural “outsiders” changed throughout time? How have the literatures and artwork of people colonized in the U.S. appropriated and transformed popular myths for their own purposes? How do “the colonized” attempt to work through the unspeakable atrocities of history via representations of a haunting past? Using Bram Stoker’s Dracula as a starting point for our study, we will question popular understandings of how the “outsider” invades cultures, and from there we will move into deciphering how other “haunting” presences—such as ghosts and vampires—in twentieth and twenty-first century fiction and films operate within the context of colonization in the U.S. The projects for this course will result in a diverse portfolio that might include, but will not be limited to, forum responses, PowerPoint presentations, annotated scene analyses, and scholarly video essays. Students will work toward a team project that examines a culturally “haunted” space in Atlanta.

ENGL 1102 N4 – English Composition II

Credit Hours: 3
Instructor: Hyeryung Hwang
Location: Hall 103
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: The Stranger The stranger leaves and enters space without appearing to alter it. Not necessarily alien (darker than others, speaking a different language, misunderstood), the stranger nevertheless has no home, wanders even as he or she stays. Is this the paradigm of the artist? Does the artist play the role of the alien, the foreign, the pariah? And how do our interactions with strangers affect our suspicious, ethical, or exotic fascination with other worlds? This course will discuss the inquiries to examine the ways representations of the stranger shape our understanding of the contemporary world. The goal of this course is to address rhetorical principles, research practices, and multimodal composition so that students can be more capable readers and writers, listeners and speakers, collaborators, viewers and designers in a variety of settings. With this goal in mind, we will complete projects that enhance our written, oral, visual, electronic, and nonverbal (WOVEN) communication skills while honing our ability to think and talk critically about the ways we perceive others and interact with them in our globalized world. Along with the WOVENText, which will serve as our guide to multimodal communication, we will use a wide variety of genres, including fiction, short essays, TV show clips, journal articles, films, and digital texts. As we discuss the materials, we will create diverse projects employing WOVEN modes: critical analysis and reflection papers, archiving digital collections, blog posts and responses, poster assignment, multimodal portfolio, and collaborative video projects. Working on these projects, students will learn to develop a process of writing, explore diverse contexts and styles of reading, write in appropriate academic genres and computer media to communicate with different audiences, and practice disciplines of research and study.

ENGL 1102 N5 – English Composition II

Credit Hours: 3
Instructor: Jeffrey Fallis
Location: Skiles 170
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: "I Too Dislike It": Poetry and Its Discontents What is poetry, exactly? What is it for? What does it do that other types of writing or art don't? Why do so many people actively dislike (even hate) it, and why do so many people also actively love it? What about it is so polarizing and unique? Beginning our discussion with two recent books of popular criticism, Ben Lerner's 2016 "The Hatred of Poetry" and Matthew Zapruder's 2017 "Why Poetry?", we will attempt a brief survey of the complex landscape of 21st-century American poetry and also examine some of the high (and low) landmarks of poetry, mostly in English, in the nineteenth and twentieth centuries. Students will attend Poetry@Tech readings, write poems of their own, and create multimodal representations of individual volumes of poetry. To break things up a bit, we will also read at least one novel by/about a poet and watch at least one movie by/about a poet, as well. Emily Dickinson said that poetry made her "feel physically like the top of [her] head were taken off." Robert Frost said it's "what gets lost in translation." Marianne Moore called poetry "all this fiddle" but also said that it's where we can find "imaginary gardens with real toads in them." The composer John Cage said, "I have nothing to say, and I am saying it, and that is poetry as I needed it." By the end of the semester, we will add our own definitions, divagations, opinions, and complaints about poetry to theirs.

ENGL 1102 N6 – English Composition II

Credit Hours: 3
Instructor: Kathy Harrison
Location: Hall 106
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: Sensational Bodies in Nineteenth-Century Literature With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies through the lens of nineteenth-century sensation fiction, which was meant to shock its audiences. We'll define "sensation" as a literary and cultural term, and will ask such questions as: What makes a (physical or textual) body “sensational”? Are all bodies sensational in some ways? With the pseudoscientific, scientific, and technological advancements that accompanied the Industrial Revolution in the nineteenth century, new curiosities emerged about bodies: the study of bodies, the appearance of bodies, what constituted a “natural” body and, thus, an “unnatural” body. Prevalent Victorian ideas about bodies are often evocative of those we see in literature, science, and popular culture today, with bodies constantly being compared to the ideal, the typical, the “natural.” This course will explore literary and cultural bodies in the Victorian period, asking such questions as: What makes a body “normal” or “natural”? In what ways can bodies be construed as “unnatural” or “odd”? Are not all bodies, in some ways, “odd”? How do Victorian representations of odd bodies echo discussions of bodies today? While sensational bodies are our topic and Victorian England is our setting, our goals concern communication and critical thinking. You will use the course topic to hone your understanding of the various rhetorical processes involved in effective communication.

ENGL 1102 N8 – English Composition II

Credit Hours: 3
Instructor: Anna Ioanes
Location: Skiles 171
Days and Times: TR 12:00pm-1:15pm
Description: Freshman English II.
Catalog Info: Afterlives of Slavery: Note: this course will be taught as a hybrid course, meaning that a significant percentage of class meetings will be conducted online. Using a WOVEN approach to communication that considers the interrelationship between Written, Oral, Visual, Electronic, and Nonverbal modes, this course will give you practice in analyzing the rhetorical strategies of others and discerning the most successful strategies for articulating your own ideas. Emerging from Saidiya Hartman's insight that the legacy of transatlantic slavery has profoundly shaped contemporary political and cultural life, this class will explore how writers, artists, and performers respond to and remake that legacy. “Afterlives of Slavery” is a course about how our understanding of the past is mediated and even remade through cultural forms. By analyzing the rhetorical strategies and implicit arguments artists and writers make about how to represent a past that is at once inaccessible and immediate, we will hone cultural literacy and expand our repertoire of of interpretive and creative strategies. The course will consider the affordances of creative genres for responding to the social and material legacy of slavery and the ways representations shape our understanding of the contemporary world. Assignments will contribute to a digital encyclopedia documenting contemporary portrayals of transatlantic slavery.

ENGL 1102 S – English Composition II

Credit Hours: 3
Instructor: Matthew Dischinger
Location: Skiles 317
Days and Times: MW 4:30pm-5:45pm
Description: Freshman English II.
Catalog Info: Atlanta Studies: Reading, Documenting, Digitizing Upon its 1939 release, Gone with the Wind became the highest grossing film of all time. Its nostalgic representation of Atlanta as America’s Southern City is among the most popular of all time, but it was certainly not the last or, dear reader, the most interesting. In our course, we will explore a range of contemporary texts depicting Atlanta that represent competing versions of the city. We will ask what these texts reveal about the near constant evolution of Atlanta as well as consider what a continued national and global interest in Atlanta can tell us about various viewing publics. As we explore these Atlanta texts, we will use digital tools to map their terrains, describe their features, and analyze their import. In addition to our work with Atlanta texts, we will work with community partners in collaboration with Serve Learn Sustain at Georgia Tech. Our work will combine ideas related to storytelling, oral history, and sustainability to broaden the scope and impact of our work in the classroom.

ENGL 1102 V – English Composition II

Credit Hours: 3
Instructor: Matthew Dischinger
Location: Skiles 317
Days and Times: MW 6:00pm-7:15pm
Description: Freshman English II.
Catalog Info: Atlanta Studies: Reading, Documenting, Digitizing Upon its 1939 release, Gone with the Wind became the highest grossing film of all time. Its nostalgic representation of Atlanta as America’s Southern City is among the most popular of all time, but it was certainly not the last or, dear reader, the most interesting. In our course, we will explore a range of contemporary texts depicting Atlanta that represent competing versions of the city. We will ask what these texts reveal about the near constant evolution of Atlanta as well as consider what a continued national and global interest in Atlanta can tell us about various viewing publics. As we explore these Atlanta texts, we will use digital tools to map their terrains, describe their features, and analyze their import. In addition to our work with Atlanta texts, we will work with community partners in collaboration with Serve Learn Sustain at Georgia Tech. Our work will combine ideas related to storytelling, oral history, and sustainability to broaden the scope and impact of our work in the classroom.

ENGL 1102 W – English Composition II

Credit Hours: 3
Instructor: John Browning
Location: Skiles 156
Days and Times: TR 6:00pm-7:15pm
Description: Freshman English II.
Catalog Info: The Slasher Film: Gender, Disability, and Transgression What is a Slasher film? Perhaps better stated: What separates the Slasher film from the Horror genre proper? To help answer this, students will trace the evolution and visual aesthetics of the Slasher film through profiling the subgenre’s killer(s) and victim typologies, locating the subgenre’s loci across rural and sub/urban settings, and identifying conventions and motifs like the “final girl.” After examining early narratological precursors like Peeping Tom (1960) and Psycho (1960), students will continue on to the film Halloween (1978), which arguably inaugurated the subgenre, and afterwards examine the decade of the 1980s during which the Slasher film found its heyday. Finally, students will ascertain the current state of the Slasher subgenre through recent reboots and other related media. Although students will be exposed to more mainstream incarnations like Friday the 13th (1980-) series, the class will also focus in equal (body) parts on a plethora of lesser known film installments (primary texts) that were produced on considerably smaller budgets. Slasher films were particularly marketed towards teenagers and young adults, and we will explore precisely how and why through secondary literature and class discussions. Other means at our disposal for investigating Slasher cinema will be an array of critical “weaponry” as it were, from Gender and Feminist Studies to Disability Studies. In the course of the semester, students will produce various written and multimodal projects and in the process enhance their written, oral, visual, electronic, and nonverbal (WOVEN) communication strategies. Note: The Slasher subgenre is notoriously sexualized and violent, so students negatively affected by either of these two themes, to any heightened degree, should avoid enrolling in this class

LMC 2050 D – Literature, Media, and Communication Seminar

Credit Hours: 3
Instructor: Aaron Santesso
Location: Skiles 169
Days and Times: TR 1:30-2:45
Description: This course introduces second-semester majors to the intellectual movements, interpretive frameworks, and research skills central to the disciplines represented in LMC. Course Prerequisites: English 1102 and LMC 2850.
Catalog Info: LMC Seminar: Utopia and Dystopia In this seminar, we will trace the history of utopian thought (particularly in literature, but also in film, architecture, and other fields), and consider the emergence of dystopian cultural work as a response. What relationship does utopian literature or film have to real-world utopian projects? What is the future of utopian work and thought? And why does every single movie franchise have to be "dystopian" these days? We will read works ranging from More's Utopia to present-day science fiction, along with a range of film and digital works.

LMC 2050 H – Literature, Media, and Communication Seminar

Credit Hours: 3
Instructor: Carol Senf
Location: Skiles 314
Days and Times: TR 3:00-4:15
Description: This course introduces second-semester majors to the intellectual movements, interpretive frameworks, and research skills central to the disciplines represented in LMC. Course Prerequisites: English 1102 and LMC 2850.
Catalog Info: This course introduces second-semester majors to the six threads on which LMC majors can focus and to both primary and secondary research. The class will begin with an intensive study of Bram Stoker’s Dracula (literature, social justice, and science, technology, and culture) and to the various media in which it has been adapted. Students will then move into the more active study of social justice as it impacts Atlanta and the campus and will be encouraged to present their findings in ways that encourage exploration of communication practices and design.

LMC 2400 J – Introduction to Media Studies

Credit Hours: 3
Instructor: Devin Wilson
Location: Skiles 169
Days and Times: MWF 10:10-11:00
Description: This course offers an introduction to the historical development and cultural impact of various forms of media: print, radio, television, film, and interactive electronic applications.

LMC 2500 K – Introduction to Film

Credit Hours: 3
Instructor: Gregory Zinman
Location: Skiles 371
Days and Times: TR 1:30-2:45
Description: Introduces film techniques and vocabulary in an historical and cultural context. Written texts are supplemented by viewings of specific shots, scenes, and films.
Catalog Info: This course provides students with a number of approaches—formal, historical, and theoretical—with which to analyze cinematic form and to understand how moving images make meaning. The class begins by examining cinema’s formal elements (cinematography, editing, mise-en-scène, sound) in order to establish the necessary terminology required for the analysis of film. We then turn to the conventions and critiques of Hollywood narrative filmmaking, considering issues of genre, authorship, and ideology, before considering some alternatives (avant-garde, art cinema, other national cinemas, documentary) to dominant Western film styles. The class concludes by interrogating the quickly shifting status of the moving image in the digital age, and asking what these technological changes might indicate for cinema’s future. **Screenings: T 3-5 Skiles 002

LMC 2500 K – Introduction to Film

Credit Hours: 3
Instructor: Angela Dalle-Vacche
Location: Skiles 371
Days and Times: TR 8:00-9:15am
Description: Introduces film techniques and vocabulary in an historical and cultural context. Written texts are supplemented by viewings of specific shots, scenes, and films.

LMC 2600 N – Introduction to Performance Studies

Credit Hours: 3
Instructor: Philip Auslander
Location: Skiles 308
Days and Times: TR 12:00-1:15pm
Description: This course examines the origins of the field of performance studies in literary study of theater and drama, anthropological investigations of ritual, and sociological analyses of performance in everyday life.
Catalog Info: The premise of Performance Studies, an academic discipline that has grown exponentially since the late 1960s, is that performance is a fundamental category of human (and perhaps not just human) activity not limited to the performing arts. Nevertheless, the institutional and aesthetic roots of at least one central branch of Performance Studies are in the theater, while others derive more from the disciplines of Speech, Oral Interpretation, Ethnography, and Communications. Nevertheless, for most people, as for many of the founders of Performance Studies, acting is the default model for performance, the thing we probably think of first when the concept of performance is raised. This edition of LMC 2600 will begin with a consideration of acting, perhaps the activity most people most readily associate with the idea of performance. Departing from this base, we will work toward a more general understanding of performance as a category of human behavior that extends, literally and metaphorically, beyond the arts into such activities as rituals and ceremonies, and into everyday life itself. Assignments include tests, a written performance analysis, and group performance assignments to be prepared outside of class time and presented in class.

LMC 2661 A – Theatre Production: Set Design and Construction

Credit Hours: 1
Instructor: Melissa Foulger
Days and Times: SUN 1:00-5:00pm
Description: Meeting times vary. Course carries 1 semester hour of credit.
In this "hands on" course, students learn theatrical construction and painting techniques while building scenery for DramaTech productions.
Catalog Info: Drama Tech

LMC 2662 A – Theater Production II: Lights, Properties, and Costumes

Credit Hours: 1
Instructor: Melissa Foulger
Days and Times: SAT 1:00-5:00pm
Description: Meeting times vary. Course carries 1 semester hour of credit.
In this "hands-on" course, students create the lighting, property, and costume effects for two DramaTech productions.
Catalog Info: Drama Tech

LMC 2720 H – Principles of Visual Design

Credit Hours: 3
Location: Skiles 357
Days and Times: TR 3:00-4:15pm
Description: Studio-based course that provides students with basic skills needed to create digital visual images and to analyze designs from historical and theoretical perspectives.
Students will be given design problems growing out of their reading and present solutions using Photoshop, Illustrator, Flash, and 3DstudioMax or similar 3D application. Students will also examine visual experience in broad terms, from the perspectives of creators and viewers. The course will address a number of key questions including: Why is the act of drawing considered by numerous disciplines to be a cognitive and perceptual practice? How do images produce significance or meaning? What is the role of technology in creating and understanding images and vision? What is the difference between the intention of the creator and the interpretations of the viewers? How do images function as a "language"?
Catalog Info: Instructor: Kozubaev

LMC 2720 J – Principles of Visual Design

Credit Hours: 3
Instructor: Firaz Peer
Location: Skiles 357
Days and Times: MWF 10:10-11:00
Description: Studio-based course that provides students with basic skills needed to create digital visual images and to analyze designs from historical and theoretical perspectives.
Students will be given design problems growing out of their reading and present solutions using Photoshop, Illustrator, Flash, and 3DstudioMax or similar 3D application. Students will also examine visual experience in broad terms, from the perspectives of creators and viewers. The course will address a number of key questions including: Why is the act of drawing considered by numerous disciplines to be a cognitive and perceptual practice? How do images produce significance or meaning? What is the role of technology in creating and understanding images and vision? What is the difference between the intention of the creator and the interpretations of the viewers? How do images function as a "language"?

LMC 2730 G – Construction the Moving Image

Credit Hours: 3
Location: Skiles 357
Days and Times: MWF 12:20-1:10
Description: Provides the student with the conceptual, formal, aesthetic, and technical approaches to reconsider film, videos, and animation within the context of emerging digital forms.
Students learn to further the development of new, digital forms of the moving image by analyzing. mastering, and expanding its conventions. Students will engage in continual creation, experimentation, and analysis. This is a studio course, with regular design assignments and design critiques. The course includes work in montage editing, camerawork, storyboarding, advanced editing, streaming video, and interactive video.
Catalog Info: Instructor: Freeman

LMC 2813 HP – Special Topics in Science, Technology and Culture

Credit Hours: 3
Location: Clough Commons [CULC] 323
Days and Times: TR 9:30-10:45am
Description: Study of one or more topics of current interest in the area of science, technology, and culture.
Catalog Info: Instructor: Appel-Silbaugh Honors Program Students only.

LMC 3104 N – The Age of Scientific Discovery

Credit Hours: 3
Instructor: Robert Wood
Location: Skiles 314
Days and Times: TR 12:00-1:15
Description: Examines the relationships among texts representing the literary, artistic, and scientific thought of the fifteenth and sixteenth centuries.
Course Attributes: Country and Region (IP), Humanities Requirement

LMC 3112 D – Evolution and the Industrial Age

Credit Hours: 3
Instructor: Carol Senf
Location: Skiles 308
Days and Times: TR 1:30-2:45pm
Description: Connects later nineteenth century scientific and technological concepts and discoveries, particularly theories of evolution, to the literature and culture of the industrial age.
Course Attributes: Humanities Requirement
Catalog Info: This class focuses on the rise of industrialism and colonialism in the nineteenth century and connects later nineteenth-century scientific and technological concepts and discoveries, particularly theories of evolution, to the fiction and poetry of the long nineteenth century. Students will read from the works of Charles Darwin and his contemporaries and analyze the representation of science and technology in short stories, novels, poetry, and scientific prose. Discussion will focus especially on how science and social values overlap, particularly in narrative representations of ethnicity, gender, and class.

LMC 3114 G – Science, Technology, and Modernism

Credit Hours: 3
Instructor: Blake Leland
Location: Skiles 317
Days and Times: MWF 12:20-1:10pm
Description: Explores a cross-section of technological, scientific, and cultural production characteristics of the first half of the twentieth century.
Course Attributes: Humanities Requirement
Catalog Info: We examine a cross-section of the cultural/political/scientific ferment in the West in the first part of the 20th century—a time of general cultural paradigm crisis provoking new forms and models, new languages and dialects, as it were, for representing and making sense of the experience of modernity. The course materials are a mix of theoretical essays, scientific writings, and elite and popular artistic works. The material can be challenging (both in quality and quantity) but I think you will often find it exciting. Learning Outcomes: Students will have an informed sense of the intricately complex ways in which modern technology, modern science, modern political economy, urban concentrations of population, and modern warfare (WWI) affect and influence psychological and cultural contexts.

LMC 3202 H – Studies in Fiction

Credit Hours: 3
Instructor: Lisa Yaszek
Location: Skiles 317
Days and Times: TR 3:00-4:15pm
Description: Examines the elements of fiction and what has made fiction, especially the novel, distinctive, popular, and enduring. Readings may include formal, cultural, and historical theories.
Course Attributes: Humanities Requirement
Catalog Info: Studies in Fiction: Global Science Fiction This class will explore science fiction (SF) as a variety of texts that enable people to talk about their experiences with science and technology across centuries, continents, and cultures. In the first unit, we will explore the history and critical vocabulary of science fiction as it has developed in Europe and the United States over the past two hundred years. In the second unit, we will examine the transition from nationally- to globally-oriented science fiction through a case study of black speculative fiction, beginning with nineteenth-century African American alternate histories and extending to present-day African science fiction. In the third and longest unit, we will continue our study of science fiction from around the globe, including tales from South America, India, Russia, China, Japan, and the Middle East.

LMC 3204 L – Poetry and Poetics

Credit Hours: 3
Instructor: Blake Leland
Location: Skiles 317
Days and Times: MWF 1:55-2:45pm
Description: A study of traditions of poetic practice and poetic theory in English, in conjunction with a weekly workshop session centered on the student's own poetry.
Course Attributes: Humanities Requirement
Catalog Info: What makes poetry different from other uses of language? Mostly, it is a matter of technique: poetry is more intricately patterned than prose. The patterns may be sound patterns (rhyme, rhythm and the like) or semantic patterns, patterns of meaning such as metaphor or image or allusion, or they may be visual patterns (lines, stanza shapes etc.). Often a poem will be patterned in all these ways, and more! More than emotional intensity or philosophical depth, this is what makes a poem a poem. When I turn to the one I love and say “I love you,” that may signify a most profound and important feeling. But it is not a poem. When I say: “I love you like October light loves heathered hills, loves slopes with wildflowers gone over, loves little yellow leaves, like flakes of light, that drift down shadows, and trees turning, half-undressed, to meet its gaze.” …that’s a poem. And we can think about and talk about how that poem works, or doesn’t work. In this class we will study and analyze some of the practices of poetic pattern-making in English. We will regularly write, read, and talk about (anonymously) our own poems too. There will be a steady practice of reading— poetry mostly, and thinking about what you have read, and trying to express your thinking both verbally in class and in written form. You will also probably produce a fairly steady stream of writing, both creative writing and analytical writing.

LMC 3204 Y – Poetry and Poetics

Credit Hours: 3
Location: Skiles 343
Days and Times: F 3:00-5:45pm
Description: A study of traditions of poetic practice and poetic theory in English, in conjunction with a weekly workshop session centered on the student's own poetry.
Course Attributes: Humanities Requirement
Catalog Info: Instructor: J. Lux This class centers on the pleasures of reading poetry. Students from all backgrounds are invited to join this discussion-based class in which we will deepen our appreciation of the art form. Assignments include several short papers and a daily poetry journal. Attendance at Poetry@Tech readings is required.

LMC 3206 F – Studies in Communication and Culture

Credit Hours: 3
Instructor: Mark Leibert
Location: Skiles 346
Days and Times: TR 9:30-10:45am
Description: Examines ways in which forms and media of communication create and are created by other cultural constructs.
Course Attributes: Humanities Requirement

LMC 3208 D – African-American Literature and Culture

Credit Hours: 3
Instructor: Susana Morris
Location: Skiles 311
Days and Times: TR 1:30-2:45pm
Description: Explores the works of African-American writers from the Colonial period to the present and examines a variety of cultural constructs that have fundamentally shaped the African-American literary tradition.
Course Attributes: Humanities Requirement

LMC 3210 F – Ethnicity in American Culture

Credit Hours: 3
Instructor: Nihad Farooq
Location: Skiles 317
Days and Times: TR 9:30-10:45am
Description: Explores literary and historical works considering ethnic issues in American culture, including immigration, social assimilation, "double consciousness," the development of ethnic identity/pride, and multiculturalism.
Course Attributes: Humanities Requirement

LMC 3214 H – Science Fiction

Credit Hours: 3
Instructor: Susana Morris
Location: Skiles 308
Days and Times: TR 3:00-4:15pm
Description: Examines science fiction texts from the last 200 years to show how they reflect ambiguous reactions to change.
Course Attributes: Humanities Requirement

LMC 3215 F – Science Fiction Film TV

Credit Hours: 3
Instructor: Jay Telotte
Location: Skiles 368
Days and Times: TR 9:30-10:45am
Description: Specifically, it examines science fiction as it has developed during film history and as it has gradually become a popular form of television narrative.
Catalog Info: This course explores how a specific genre works and what happens when it crosses conventional media boundaries. The course focuses on science fiction as it has developed during film history and as it has gradually become a popular form of television narrative. The course initially looks at how we define and distinguish different genres, how they share elements, and how they function culturally. It then examines how these generic characteristics developed from silent film to the present, and it considers several popular television series to determine what the various media versions of the genre share and how they differ. Our goal is threefold: to better understand how a particular genre works, to gain a sense of media science fiction’s history and themes, and to see how it is inflected by the two of the media in which it has found great popularity. Students attend weekly screenings, read material on genre and science fiction, and discuss the films, television episodes, and readings. Grades depend on two tests, a comprehensive final, an oral/written report, and a research paper.

LMC 3219 F – Literature and Medicine

Credit Hours: 3
Instructor: Narin Hassan
Location: Skiles 308
Days and Times: TR 9:30-10:45am
Description: This course examines works of literature dealing overtly with illness and healing, works about or by physicians and other caregivers, and works that raise questions about ethical behavior in the face of sickness.
Course Attributes: Humanities Requirement

LMC 3225 B – Gender Study in the Disciplines

Credit Hours: 3
Instructor: Anne Pollock
Location: Skiles 370
Days and Times: MWF 11:15-12:05pm
Description: This course explores the concept of gender and its usefulness as a theoretical category in a variety of disciplines. it includes cultural studies of literature, communication media, cultural anthropology, sociology, history, and science.
Course Attributes: Humanities Requirement
Catalog Info: This course explores the concept of gender and its usefulness as a theoretical category in a variety of disciplines. We will consider how gender matters in disciplines of engineering, and will include particular attention to LGBT issues. We will start with foundational conceptual and historical concerns, and then turn to issues in engineering education and engineering as a profession. Guest lectures by faculty from three engineering fields (electrical, civil, and biomedical) will provide additional context. Throughout the semester, students will work in groups to do research projects on a particular engineering sub/field of interest to them. Preparatory assignments will build toward a final research report on how gender matters in that particular engineering discipline.

LMC 3226 G – Major Authors

Credit Hours: 3
Instructor: Peter Fontaine
Location: Skiles 371
Days and Times: MWF 12:20-1:10pm
Description: An examination of the works and career of a major author in historical and cultural context.
Course Attributes: Humanities Requirement
Catalog Info: Author: David Foster Wallace

LMC 3226 RNZ – Major Authors

Credit Hours: 3
Instructor: Hugh Crawford
Days and Times: TBA
Description: An examination of the works and career of a major author in historical and cultural context.
Course Attributes: Humanities Requirement
Catalog Info: Major Authors: Herman Melville and the American Encounter with the South Pacific Islands— Taught in the New Zealand as part of the Pacific Program Although best known for his whaling novel, Moby-Dick, Herman Melville began his career as a travel writer, producing several romances based on his experiences in the South Sea islands during the first part of the 19th century. In some ways, this work could be considered proto-cultural anthropology and his observations approach the level of natural history. These books reflect on many of the questions that remain troubling even today: the relation between so-called primitive and civilized societies, the ecological responsibilities of natives and explorers, and the function of science and technology in mediating and representing encounters between these disparate groups. This course will examine these issues as they are represented in two of Melville's novels: Typee, and Moby-Dick, some of his shorter stories, and supplementary texts including readings in Darwin’s Voyage of the Beagle, background on the 19th Century whaling industry, and discussions of 19th century meteorology and cartography. Specific assignments will be linked to visits the museum of New Zealand “Te Papa Tongarewa” the Wellington Maritime museum, and the National Tattoo Museum of New Zealand.

LMC 3234 W – Creative Writing

Credit Hours: 3
Days and Times: MW 8:00-9:15am
Description: Prerequisite(s) Engl 1102 This course explores a range of creative literary genres, and combines study and analysis of existing modes of one or more forms in order to establish a basis for original creative work by class members.
Course Attributes: Humanities Requirement
Catalog Info: Instructor: Denton Swann 325

LMC 3234 X – Creative Writing

Credit Hours: 3
Instructor: JC Reilly
Location: Skiles 343
Days and Times: MW 9:30-10:45am
Description: Prerequisite(s) Engl 1102 This course explores a range of creative literary genres, and combines study and analysis of existing modes of one or more forms in order to establish a basis for original creative work by class members.
Course Attributes: Humanities Requirement
Catalog Info: Screenwriting This semester's creative writing class will focus on screenwriting, and students will write scripts for several 3-5 minute short films, which will then be "optioned" to be filmed in LMC 3406 Video Production in a subsequent semester. We'll do writing exercises geared to developing character, plot, conflict, genre, story, etc., as well as learning to use script writing software, reading some scripts for inspiration, "recreating" film scripts based on what we see on screen, adapting stories for the screen, sharing scripts for peer review, critiquing current films, and possibly watching film clips as appropriate. The class is fun, but writing and drafting intensive. No previous creative writing experience is necessary--just an interest in writing and films! Contact jc.reilly@lmc.gatech.edu w/gtid for permit

LMC 3252 D – Studies in Film and Television

Credit Hours: 3
Instructor: Robert Wood
Location: Skiles 368
Days and Times: TR 1:30-2:45pm
Description: Prerequisite: LCC 2400 or LCC 2500

Explores in depth a theoretical issue central to film and/or television. Among its concerns are authorship, genre theory, spectatorship, ideology, narrative theory, and the relationship between these media and social history.
Course Attributes: Humanities Requirement
Catalog Info: Screenings: TH 3:00-5:00pm Skiles 368

LMC 3253 X – Animation

Credit Hours: 3
Instructor: Krystina Madej
Location: Skiles 308
Days and Times: MW 9:30-10:45am
Description: This course examines animation from its earliest days as a “cinema of attractions” to its current development as a predominantly digital practice.

LMC 3254 W – Film History

Credit Hours: 3
Instructor: Qi Wang
Location: Skiles 371
Days and Times: MW 8:00-9:15am
Description: Prerequisite: LCC 2500 Surveys the history of film from its machine origins to its present digital developments. It focuses on various movements, figures, and narrative developments in world cinema.
Course Attributes: Humanities Requirement
Catalog Info: This course offers a historical survey of world cinema by tracing from the very beginning of cinema’s invention to contemporary international co-productions in the 21st century. Decade by decade, we will follow cinema’s development in terms of historical and cultural contexts, technology, industrial practice, and major movements, genres, themes as well as directors. Accompanied by lectures, screenings, readings, and discussions, students will view, assess, and understand canonical films from around the world in relation to their historical, industrial and cultural backgrounds. Screenings: M 4:30-6:30pm Skiles 371

LMC 3256 X – Major Filmmakers

Credit Hours: 3
Instructor: Qi Wang
Location: Skiles 371
Days and Times: MW 9:30-10:45am
Description: Prerequisite: LCC 2500

Traces in depth an individual artist's career and affords students the opportunity to immerse themselves in the works of an important figure in the world of film.
Course Attributes: Humanities Requirement
Catalog Info: Major Filmmakers--Asian Auteurs This course aims to provide an in-depth view on some of the most prominent directors from Asia. Through a combined approach of auteur and cultural studies, we will appreciate representative directors in terms of their individual styles and related national/regional histories that inform the content and form of their films. Among filmmakers to be discussed are: Akira KUROSAWA (Japan), Yasujiro OZU (Japan), HONG Sang-soo (Korea), PARK Chan-wook (Korea), LEE Chang-dong (Korea), KIM Ki-duk (Korea), Hou Hsiao-hsien (Taiwan), JIA Zhangke (China), LOU Ye (China), etc. Screenings: M 7:30-9:30pm Skiles 371

LMC 3258 D – Documentary Film

Credit Hours: 3
Instructor: John Thornton
Location: Skiles 355
Days and Times: TR 1:30-2:45pm
Description: Documentaries.
Catalog Info: Documentaries help shed light on significant topics, and challenge its audiences to act on relevant issues of the day. The objectives of this course are to introduce students to the art of documentary filmmaking, and to explore the ways in which documentary filmmaking can serve as a catalyst for articulating social justice issues that prompt audiences to take action. Working in small, collaborative teams, students will learn to write and produce short documentary videos on social justice issues that are specifically related to the Georgia Tech Community, the City of Atlanta, and/or the State of Georgia. The course will conclude with screenings of student work at the Plaza Theatre (ATL), as part of LMC’s 2nd Annual Social Justice Student Film Festival (LMC SJSFF). The Social Justice Student Film Festival celebrates the work of emerging filmmakers by showcasing social justice centered docs that prompt audiences to take action.

LMC 3262 D – Performance Studies

Credit Hours: 3
Instructor: Philip Auslander
Location: Skiles 314
Days and Times: TR 1:30-2:45pm
Description: Prerequisite: LCC 2600

An examination of cultural theories of performance and their application to the analysis of specific performative events.
Course Attributes: Humanities Requirement
Catalog Info: Performance Studies: Seminar: Music and Performance Studies: Rock Music to the 1970s We will look at the first half of the development of rock music from roughly 1945-1977 from historical, social, musical, and performance perspectives. Areas of focus will include: The evolution of the rock band from earlier configurations of musicians beginning with swing and post-war dance bands. The evolution of rock instrumentation from saxophone dominated R&B to guitar dominated rock. The evolution of the vocal harmony group from gospel through doo wop and girl groups to the Beach Boys and the Mamas and the Papas; The waxing and waning of spectacle and theatricality in the performance of rock music; The changing social identities and roles of musicians and audiences; .The role of media, including sound recordings, film, radio, jukeboxes, and television, in the evolution and dissemination of rock music; . Specific musical genres, including jump blues, blues, rockabilly, surf, rock n roll, rock, folk-rock, psychedelic rock and hard rock. In many cases, we will focus in greater detail on a particular issue or artist, particularly artists whose careers reflect transitional moments in the history of the music. Because this course is offered under the rubric of Performance Studies, it will emphasize the visual and performance aspects of rock and related genres at all historical moments, as well as the music itself and the circumstances of its performance. This course will be conducted as much as possible as a seminar, meaning that a high level of student participation in discussion is expected. Assignments include multiple seminar presentations and a final project/presentation on a topic in the history of rock music and its performance.

LMC 3306 N – Science, Technology, and Race

Credit Hours: 3
Instructor: Joycelyn Wilson
Location: Skiles 317
Days and Times: TR 4:30-5:45pm
Description: Examines specific historical and contemporary constructions of race, within the prevailing scientific theories and ideologies in order to determine the role played by "race" in scientific and technological culture.
Course Attributes: Humanities Requirement
Catalog Info: Science, Race, and Technology - Outkast, Atlanta Hip Hop, and Politics of Social Justice The music of Atlanta rap duo Outkast, along with the performance practices of other Hip Hop-inspired artists, are reframed as case studies for undergraduate students to examine relationships between culture, media, social justice, race, and technology. The course emphasizes pedagogical performance and how these artists play a critical role in the African American traditions of “message music”. Focusing mainly on innovations in southern Hip Hop, the course interrogates its social politics, problematizes it lapses, investigates its notions of Black joy and self-expression, and discusses the ideal of civil rights from the perspective of Atlanta as a “city too busy to hate”.

LMC 3308 H – Environmentalism and Ecocriticism

Credit Hours: 3
Instructor: Yanni Loukissas
Location: Skiles 170
Days and Times: TR 3:00-4:15pm
Description: Surveys the emergence of ecocriticism as an analytical framework for interpreting the verbal and visual rhetorics of environmentalism in both western and nonwestern cultures.
Course Attributes: Humanities Requirement
Catalog Info: Environmentalism and Ecocriticism How have contemporary media, such as film, literature, architecture, photography, and computation, been used to shape popular conceptions of the environment, to challenge these conceptions and to propose radical alternatives? In this class, students will learn to analyze representations of the earth, nature, wildlife and wilderness in creative work across domains: a landscape by James Corner, a short story by Ursula K. La Guin, an installation by Natalie Jeremijenko, a film by Hayao Miyazaki, an interactive narrative by Jeremy Mendez and Leanne Allison. The class will focus on unraveling various configurations of nature and technology in environmentalist creations and exposing their broad social, cultural and political implications. Such configurations might take the form of subject and frame, field and object, original and copy, native and foreign, or non-human and human. Moreover, we will engage with emergent work that seeks to complicate such oppositions as well as speculative practices that move beyond the role of critique. The class will make use of theory from the field of science and technology studies (STS) to motivate a series of short essays and interpretive media projects throughout the term.

LMC 3314 H – Technologies of Representation

Credit Hours: 3
Instructor: Lauren Klein
Location: Skiles 370
Days and Times: TR 3:00-4:15pm
Description: Explores historical, cultural, and theoretical issues raised by technologies of representation, including written, spoken, and gestural languages; print, painting, and illustration; still and moving photography; recorded sound; and computer-mediated communications and interactive digital media.
Course Attributes: Humanities Requirement
Catalog Info: Technologies of Representation: Data Visualization We live in what’s been called the “golden age” of data visualization. We now routinely encounter bar charts of our step-counts, stack graphs of our debit card purchases, and network diagrams of our Facebook friends—and that is to say nothing of the complex diagrams and infographics that populate the news. Indeed, if data is the “new oil,” as it’s been described, visualization might be said to be the process by which data is converted into energy—in the form of powerful, persuasive images that, far too often, remain under-critiqued. This course will thus present a series of lenses for critiquing—and creating—data visualizations in ways that address their social, cultural, and political dimensions. We will focus on visualizations of Georgia state data, past and present, using the recently rediscovered visualizations of W.E.B. Du Bois as our point of departure. By examining these (and other) visualizations in the context of readings that engage with the various issues surrounding personal and government data, we will emerge with a deeper understanding of the power of data visualization, as well as its constraints.

LMC 3402 N – Graphic and Visual Design

Credit Hours: 3
Instructor: Mark Leibert
Location: Skiles 346
Days and Times: TR 12:00-1:15pm
Description: Prerequisite: LCC 2100 or LCC 2400

Introduction to fundamentals of graphic and visual design of print and digital media. Familiarity with use of the World Wide Web, page layout, and computer graphic software is recommended.

LMC 3403 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Rebekah Greene
Location: Skiles 308
Days and Times: TR 8:00-9:15am
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403: Community Engagement: Sustainable Communities and STEAM in the Greater Atlanta Area. Technical communication utilizes strategies and practices relating to information to communicate with a variety of stakeholders. In taking this class, you will learn rhetorical and genre strategies, develop competencies in audience and situational analysis, research, and design practices and will engage in reflection about your results. You will also be extending your already extant problem-solving skills by working on a range of assignments designed to expose you to standard workplace genres and issues. In doing so, you will end up developing a range of multimodal artifacts (including but not limited to memos, presentations, infographics, brochures and/or flyers, manuals, and reports) that demonstrate an awareness of audience, argument, language, persuasion, and design principles. Required texts include Anderson's Technical Communication (8th ed.) and Alread, Brusaw, and Oliu's Handbook of Technical Writing (11th ed.). Course restricted: No CS majors.

LMC 3403 BA1 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Joseph Aldinger
Location: Skiles 370
Days and Times: TR 12:00pm-1:15pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403: Business Communication. This technical communication course is designed to introduce students in the Scheller College of Business to the kinds of communications and documents they will experience in the work place. It is an exciting time to study business communication. While in the past, business or professional writing courses focused on teaching students rules, genres, and the do(s) and don’t(s) for creating documents, our focus will be more on creativity, rhetorical theory, and design. As much as this is a course on business communication, this is also and as much a course in design theory. We will read broadly from a variety of disciplines such as: rhetoric, anthropology, philosophy, and marketing. Our goal will be to analyze real-world written, oral, visual, electronic, and non-verbal forms of communication so that we may become designers who create audience/user centered artifacts that are rhetorically sound and engaging. This is a project based course. Therefore, the course is divided by the major projects which include: a project on infographics, video ethnographies, forecast reports, lookbooks, maps, and a website. Every project will challenge you to reflect on the rhetorical choices you make during the process of designing your documents. In addition, each project will contribute to the culminating portfolio (i.e. your personal website) that you will design to showcase the work you did this semester. This course is affiliated with GA Tech’s Serve-Learn-Sustain Center; therefore, some of our units student will produce deliverables for Atlanta based non-profit clients.

LMC 3403 BA2 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Joseph Aldinger
Location: Skiles 302
Days and Times: TR 1:30pm-2:45pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403: Business Communication. This technical communication course is designed to introduce students in the Scheller College of Business to the kinds of communications and documents they will experience in the work place. It is an exciting time to study business communication. While in the past, business or professional writing courses focused on teaching students rules, genres, and the do(s) and don’t(s) for creating documents, our focus will be more on creativity, rhetorical theory, and design. As much as this is a course on business communication, this is also and as much a course in design theory. We will read broadly from a variety of disciplines such as: rhetoric, anthropology, philosophy, and marketing. Our goal will be to analyze real-world written, oral, visual, electronic, and non-verbal forms of communication so that we may become designers who create audience/user centered artifacts that are rhetorically sound and engaging. This is a project based course. Therefore, the course is divided by the major projects which include: a project on infographics, video ethnographies, forecast reports, lookbooks, maps, and a website. Every project will challenge you to reflect on the rhetorical choices you make during the process of designing your documents. In addition, each project will contribute to the culminating portfolio (i.e. your personal website) that you will design to showcase the work you did this semester. This course is affiliated with GA Tech’s Serve-Learn-Sustain Center; therefore, some of our units student will produce deliverables for Atlanta based non-profit clients.

LMC 3403 BA3 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Joseph Aldinger
Location: Skiles 302
Days and Times: 4:30pm-5:45pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403: Business Communication. This technical communication course is designed to introduce students in the Scheller College of Business to the kinds of communications and documents they will experience in the work place. It is an exciting time to study business communication. While in the past, business or professional writing courses focused on teaching students rules, genres, and the do(s) and don’t(s) for creating documents, our focus will be more on creativity, rhetorical theory, and design. As much as this is a course on business communication, this is also and as much a course in design theory. We will read broadly from a variety of disciplines such as: rhetoric, anthropology, philosophy, and marketing. Our goal will be to analyze real-world written, oral, visual, electronic, and non-verbal forms of communication so that we may become designers who create audience/user centered artifacts that are rhetorically sound and engaging. This is a project based course. Therefore, the course is divided by the major projects which include: a project on infographics, video ethnographies, forecast reports, lookbooks, maps, and a website. Every project will challenge you to reflect on the rhetorical choices you make during the process of designing your documents. In addition, each project will contribute to the culminating portfolio (i.e. your personal website) that you will design to showcase the work you did this semester. This course is affiliated with GA Tech’s Serve-Learn-Sustain Center; therefore, some of our units student will produce deliverables for Atlanta based non-profit clients.

LMC 3403 BA4 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Andrea Rogers
Location: Skiles 302
Days and Times: TR 9:30am-10:45am
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403 is a professional communication course designed specifically for students in the Scheller College of Business. As such, this course is structured to provide students with a unique classroom experience which models rhetorical situations one can expect to encounter in the business world. Throughout the semester, our chief goal will be to assess each audience and rhetorical situation effectively, so that we might apply rhetorically sound principles of communication and design to each.

LMC 3403 BA5 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Andrea Rogers
Location: Skiles 302
Days and Times: TR 12:00pm-1:15pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403 is a professional communication course designed specifically for students in the Scheller College of Business. As such, this course is structured to provide students with a unique classroom experience which models rhetorical situations one can expect to encounter in the business world. Throughout the semester, our chief goal will be to assess each audience and rhetorical situation effectively, so that we might apply rhetorically sound principles of communication and design to each.

LMC 3403 BA6 – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: Andrea Rogers
Location: Skiles 370
Days and Times: TR 1:30pm-2:45pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403 is a professional communication course designed specifically for students in the Scheller College of Business. As such, this course is structured to provide students with a unique classroom experience which models rhetorical situations one can expect to encounter in the business world. Throughout the semester, our chief goal will be to assess each audience and rhetorical situation effectively, so that we might apply rhetorically sound principles of communication and design to each.

LMC 3403 D – Technical Communication: Theory and Practice

Credit Hours: 3
Instructor: TyAnna Herrington
Location: Skiles 371
Days and Times: TR 0130-0245pm
Description: This course introduces students to workplace document genres to develop visual and verbal skills in critical analysis and document development.
Catalog Info: LMC 3403 provides information regarding the principles and concepts of technical communication and creates opportunities for students to practice technical communication skills in developing proposals, analytical reports, and related oral presentations. Students will work in experiential settings to develop materials, gather responses, and engage in critical analyses while pursuing analytical projects. Beginning with the premise that technical communication exists only within contextual situations, and both uses and creates information designed for specific purposes in specific communities (those already existing within organizations as well as those created for a unique purpose), this course asks students to explore both primary and secondary research venues to analyze situations and audiences in their own disciplines to create documents and oral presentations which communicate through effective structure, prose, and visual presentation. Students will learn to analyze and produce functional documents that reflect the results of critical analyses and other pertinent experience. The assignments will include an annotated bibliography, a well-developed analytical report, a proposal, and an oral presentation. The course will cover foundational use of technical communication's theoretical principles and concepts, treating analyses of epistemological grounding for rhetorical purposes—both analytical and productive—visual rhetoric/document design, ethics, intellectual property, usability testing, and audience issues. The required course products are all functional in nature and replicable for different purposes once students leave Georgia Tech. Course restricted: No CS majors.

LMC 3408 F – The Rhetoric of Technical Narratives

Credit Hours: 3
Instructor: Rebecca Burnett
Location: Hall 005
Days and Times: TR 0930-1045am
Description: Prerequisite: LCC 2100

Focuses on the rhetorical problems posed by such narrative documents as technical proposals, recommendation reports, grant proposals, and marketing studies. Emphasis on document design, graphics, navigation systems, and editing.

LMC 3414 – Intellectual Property: Policy and Law

Credit Hours: 3
Instructor: TyAnna Herrington
Location: Skiles 368
Days and Times: TR 12:00-1:15pm
Description: This course introduces students to intellectual property issues, focusing on ways that policy shapes national character and on application of constitutional and statutory law.
Catalog Info: Students will examine constitutionally informed policy and pragmatic legal issues in intellectual property law, focusing on the effects of power structures and information digitization. Students will master foundational understanding of intellectual property law as it affects/will affect them in their development of creative work. The course primarily provides an overview of the constitutional policy and law that drives copyright as a general structure. But it also covers statutory areas of the law that make up intellectual property, such as the protections for intellectual property: trademark, reputation and goodwill, trade secret, patent, and copyright. The range of discussion in each of these areas is determined by student interests and by their contributions, which complement regular course material.

LMC 3431 JIA – Technical Communication Approaches

Credit Hours: 3
Instructor: Sarah Lozier
Location: College of Computing [CoC] 101
Days and Times: F 10:10am-11:00am
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3431 JIB – Technical Communication Approaches

Credit Hours: 3
Instructor: Sarah Lozier
Location: College of Computing [CoC] 101
Days and Times: F 11:15am-12:05pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3431 JIC – Technical Communication Approaches

Credit Hours: 3
Instructor: Sarah Lozier
Location: College of Computing [CoC] 101
Days and Times: F 12:20pm-1:10pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3431 JID – Technical Communication Approaches

Credit Hours: 3
Instructor: Kelly Ann Fitzpatrick
Location: College of Computing [CoC] 101
Days and Times: F 1:55pm-2:45pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3431 JIE – Technical Communication Approaches

Credit Hours: 3
Instructor: Kelly Ann Fitzpatrick
Location: College of Computing [CoC] 101
Days and Times: F
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3431 JIF – Technical Communication Approaches

Credit Hours: 3
Instructor: Kelly Ann Fitzpatrick
Location: College of Computing [CoC] 101
Days and Times: F 4:30pm-5:20pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 2 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. In part one of the course, you selected a project, interacted with the client, developed the project requirements, and prototyped the application. Additionally, you practiced and honed your abilities to analyze the technical needs of your project by researching the feasibility of several approaches and proposed the one with which you felt was most optimal. This semester, as you work toward building and delivering your project's main deliverables, you will continue revising and refining the project's goals, uses, and results through technical documentation. The course is organized by five three-week sprints. Three of these sprints are coding intensive, during which teams are expected to accomplish demonstrable progress in coding and implementing their product/system. The semester’s major technical document is a Detailed Design explaining the architectural and information components of the team’s product/system. Students will also be asked to participate in a team Retrospective three times during the semester. These Retrospectives are valuable processes through which a team works through an understanding of their work processes and identifies areas for improvement in subsequent sprints. Project Management is an important component of the course. Teams will be asked to carefully plan, document, and manage their workflow and collaboration in order to provide a quality project on time at the end of the semester. Throughout the semester, you will be tracking and managing your work through weekly meeting minutes and Zenhub. A final presentation/demo and reflection will round out the deliverables for the course. Course Prerequisites: LMC 1102

LMC 3432 JDA – Technical Communication Strategies

Credit Hours: 3
Instructor: Halcyon Lawrence
Location: Skiles 202
Days and Times: WF 10:10am-11:00am
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3432 JDB – Technical Communication Strategies

Credit Hours: 3
Instructor: Halcyon Lawrence
Location: Skiles 202
Days and Times: WF 11:15am-12:05pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3432 JDC – Technical Communication Strategies

Credit Hours: 3
Instructor: Amanda Girard
Location: Skiles 202
Days and Times: WF 12:20pm-1:10pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3432 JDD – Technical Communication Strategies

Credit Hours: 3
Instructor: Amanda Girard
Location: Skiles 202
Days and Times: WF 1:55pm-2:45pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3432 JDE – Technical Communication Strategies

Credit Hours: 3
Instructor: Russell Kirkscey
Location: Skiles 202
Days and Times: WF 3:00pm-3:50pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3432 JDF – Technical Communication Strategies

Credit Hours: 3
Instructor: Russell Kirkscey
Location: Skiles 202
Days and Times: WF 4:30pm-5:20pm
Description: Part of a multi-semester sequence that students take in tandem with major-specific classes to develop professional written, visual, oral, and analytic strategies.
Catalog Info: This course is part 1 of a two-semester Junior Design capstone course that includes a computer science and technical communication component. This semester teams will develop a software solution to a problem defined either by a client or the team. The semester culminates in the development of a prototype and its demonstration in a formal presentation. Supporting deliverables that teams create include a project vision statement, user stories, and a usability/design support document. The series of deliverables students create will integrate written, oral, visual, electronic and nonverbal (WOVEN) rhetorical skills for various audiences, purposes, and contexts applicable to students’ professional experiences in the workplace. Course Prerequisites: LMC 1102

LMC 3661 A – Theater Production III: Management

Credit Hours: 1
Instructor: Melissa Foulger
Description: Meeting times vary. Class carries 1 semester hour of credit.
In this "hands-on" course, students will create and execute a publicity campaign and operate the box office for DramaTech productions.
Catalog Info: (TBA) Course meets in DramaTech theater.

LMC 3662 A – Theater Production IV: Acting

Credit Hours: 3
Instructor: Melissa Foulger
Description: Meeting times vary. Class carries 1 semester hour of credit.
This course provides students an opportunity to perform on stage in a production at DramaTech. Auditions are required.
Catalog Info: (TBA) Course meets in DramaTech theater.

LMC 3705 X – Principles of Information Design

Credit Hours: 3
Instructor: Christopher Le Dantec
Location: Skiles 302
Days and Times: MW 0930-1045am
Description: Presents principles and practices guiding the development of emerging digital genres. Emphasis on maximizing the affordances of the computer in organizing and communicating complex information.
Students examine the principles and practices that guide the development of emerging digital genres such as multimedia newspapers, interactive television, and networked cultural archives. Emphasis is on maximizing the use of the computer to expand the expressiveness of digital media as a means of organizing and communicating complex information. Students will learn principles of information abstraction and presentation and apply them to concrete projects, including database-driven applications, structured documents, and standardized systems of representation. Design analysis will draw on cultural critiques and design methodologies from multiple disciplines, including graphic design, computer programming, and rhetoric.
Catalog Info: Course restricted: Only CM majors

LMC 3710 Q – Principles of Interaction Design

Credit Hours: 3
Instructor: Nassim Jafarinaimi
Location: Skiles 302
Days and Times: MW 3:00-4:15pm
Description: Examines principles of design for shaping the procedural and participatory affordances of digital environments, emphasizing the role of cultural context and media transitions.
Students learn how to understand the issues involved in applying computational abstractions to culturally complex processes, to apply participatory conventions of digital and legacy media to the design of digital artifacts, and to analyze and critique their own and others' designs for their effectiveness in creating the experience of agency for the interactor. Students also examine the history and development of key conventions of interaction, and the role of multiple disciplines (HCI, graphic design, industrial design, cultural criticism) in guiding interaction design. They apply the principles of interaction design to artifacts in several genres (e.g. tools, games, web pages, installations, virtual reality), and apply an iterative design methodology and quick prototyping to problems in interaction design.
Catalog Info: Course restricted: Only CM majors

LMC 4100 NL – Seminar in Science, Technology, and Culture

Credit Hours: 3
Instructor: Aaron Santesso
Location: Skiles 311
Days and Times: TR 12:00-1:15pm
Description: Prerequisite: LCC 2100

A capstone seminar to the major, this course will ask students to draw upon their training in order to engage topical issues in the cultural studies of science.
Catalog Info: STaC Seminar: Surveillance and Culture We frequently hear that we live in a "surveillance society." But what does this mean, exactly? Is it simply that we occupy an environment filled with CCTV cameras? Or do we mean, as the phrase implies, that our culture, philosophy and even our basic view of the world have been fundamentally changed by surveillance? In this course, we will explore the ideological and social impact of surveillance and especially surveillance technology on our society. We will read a number of literary works which deal with surveillance (by authors including Orwell, Huxley, Gibson and Philip K. Dick), watch surveillance-themed films (The Conversation, Blow Up), and explore the impact of surveillance on philosophy, architecture, social behavior and communication.

LMC 4204 D – Poetry and Poetics II

Credit Hours: 3
Days and Times: MW 9:30-10:45am
Description: Advanced study of the traditions of poetic theory and practice with a special emphasis on processes of poetic conception and revision.
Course Attributes: Humanities Requirement
Catalog Info: Denton Course meets 1st floor Skiles, Poetry@Tech office (across from the main elevator)

LMC 4400 D – Seminar in Media Studies

Credit Hours: 3
Instructor: Ian Bogost
Location: Skiles 357
Days and Times: TR 1:30-2:45pm
Description: Prerequisite: LCC 2400

Offers an in-depth investigation of the historical development and cultural impact of different forms of media including television, film, and interactive electronic applications.
Catalog Info: Seminar in Media Studies: CM Games Capstone Course restricted: Only CM Jr/Sr majors. Course restricted: Permit required to schedule this course Prerequisites: 2700 and 1331 or 1322

LMC 4500 F – Seminar in Film Studies

Credit Hours: 3
Instructor: Angela Dalle-Vacche
Location: Skiles 371
Days and Times: TR 9:30-10:45am
Description: Prerequisite: LCC 2500

An in-depth investigation of a major movement, theory, period, or technological development in film studies
Catalog Info: Screenings: W 3:00-5:00 Skiles 371

LMC 4600 D – Seminar in Performance Studies

Credit Hours: 3
Instructor: Philip Auslander
Location: Skiles 314
Days and Times: TR 1:30-2:45pm
Description: Prerequisite: LCC 2600

An in-depth investigation of a specific issue or theme in performance studies.
Catalog Info: Seminar: Music and Performance Studies: Rock Music to the 1970s We will look at the first half of the development of rock music from roughly 1945-1977 from historical, social, musical, and performance perspectives. Areas of focus will include: The evolution of the rock band from earlier configurations of musicians beginning with swing and post-war dance bands; The evolution of rock instrumentation from saxophone dominated R&B to guitar dominated rock; The evolution of the vocal harmony group from gospel through doo wop and girl groups to the Beach Boys and the Mamas and the Papas; The waxing and waning of spectacle and theatricality in the performance of rock music; The changing social identities and roles of musicians and audiences; . The role of media, including sound recordings, film, radio, jukeboxes, and television, in the evolution and dissemination of rock music; Specific musical genres, including jump blues, blues, rockabilly, surf, rock n roll, rock, folk-rock, psychedelic rock and hard rock. In many cases, we will focus in greater detail on a particular issue or artist, particularly artists whose careers reflect transitional moments in the history of the music. Because this course is offered under the rubric of Performance Studies, it will emphasize the visual and performance aspects of rock and related genres at all historical moments, as well as the music itself and the circumstances of its performance. This course will be conducted as much as possible as a seminar, meaning that a high level of student participation in discussion is expected. Assignments include multiple seminar presentations and a final project/presentation on a topic in the history of rock music and its performance. Students taking the course under this number as a senior seminar will have additional assignments.

LMC 4602 N – Performance Practicum

Credit Hours: 3
Instructor: Melissa Foulger
Days and Times: TR 1200-0115pm
Description: Prerequisite: LCC 2600

Practical experience and theoretical investigations in theater and performance including acting, directing, designing, playwriting, performance art, performance, and new media.
Catalog Info: Directing for the Stage. Learn the fundamentals of stage direction in this project-based class that culminates in a final performance. Topics include script analysis, staging and working with actors. Course restricted: Permit required to schedule this course. Contact melissa.foulger@lmc.gatech.edu w/gtid for permit. Course meets in DramaTech Theater.

LMC 4720 H – Interactive Narrative

Credit Hours: 3
Instructor: Joycelyn Wilson
Location: Skiles 269
Days and Times: TR 3:00-4:15pm
Description: Examines significant examples of this emerging genre, including its roots in experimental uses of older media, and engages students in creating their own interactive narrative.
Students create their own interactive narratives as a means of exploring and expanding the representational power of the form. The goal of this course is to further the development of this new storytelling medium by analyzing, mastering, and expanding the conventions of narrative structure that make for expressive and coherent form. Students will analyze existing stories and create their own interactive narratives. This is a studio course, with regular assignments and design critiques.
Catalog Info: The larger objective of this course is to contribute to the expansion of human expressive powers by creating and critiquing artifacts that exploit the affordances of the emerging digital medium for the purposes of the ancient human practice of storytelling.

LMC 4725 N – Game Design as a Cultural Practice

Credit Hours: 3
Instructor: Brian Magerko
Location: Skiles 357
Days and Times: TR 12:00-1:15pm
Description: Emphasis is on the design elements common to games and the expressive possibilities and cultural concerns specific to digital games. Students analyze games as cultural artifacts and gameplay as a patterned cultural experience similar to theater, music, and other participatory creative activities. The emphasis is on the design elements common to games, from ancient board games to computer games, and the expressive possibilities and cultural concerns specific to digital games. The course includes theoretical readings and close analysis of specific games. The course will consider the primary theoretical contexts for understanding games, including anthropological, biological, sociological, aesthetic, and literary frameworks. It will include the close analysis of influential and representative games from ancient times to the present, and will engage students in design exercises and in the creation of original digital games.

LMC 4730 Q – Experimental Media and Digital Art

Credit Hours: 3
Instructor: Krystina Madej
Location: Skiles 308
Days and Times: MW 3:00-4:15pm
Description: Provides students with key conceptual, formal, aesthetic and technical elements needed in creating artifacts in areas ranging from augmented and mixed reality to scientific visualization.
Students examine the conceptual, formal, aesthetic and technical basics of creating and analyzing digital, artistic artifacts in areas of: virtual, augmented and mixed reality; ubiquitous and distributed computing; networks; tangible objects; physical and physiological computing; social computing; information and scientific visualization; and artificial intelligence. The course includes analysis, experimentation, creation, and critique of artistic projects and short analytical papers. Numerous areas of converging and diverging issues among artistic and scientific knowledge bases will be explored, in order to understand how emerging technologies and critical practices may offer us ways to reshape and rethink the world.

LMC 4813 F – Special Topics

Credit Hours: 3
Instructor: Jillann Hertel
Days and Times: TR 9:30-10:45am
Description: Class and credit hours equal last digit in course number. Topics of current interest not covered in the regular course offerings.
Catalog Info: Art of the Industry is a course designed to examine your past, present, and future frameworks in relationship to purpose, career, and participation in the current social systems that exist in the real-world when you set off from college to support yourself through your work. Students will have completed packages and have a fluid understanding of how to represent themselves and their talents through resume, cover letters, interviews, and portfolios. But beyond usual career preparedness, we examine our passion, our responsibilities, and our roles. We look at what it means to begin supporting one’s self and particularly at a time when practicality is nuanced with the desire for meaning and impact. This course is for graduating (SP/18) — or soon-to-be graduating (SU/18 or FA/18) — seniors. This course is participation-based and attendance is required. The course is part lecture, part studio, part critique, and part discussion. Guest speakers from various industries will visit. Students will be required to give 1 TED-style ‘talk’ and to complete their personal packages. Reading and short essays are required. There will be a class-project as decided by the group which will require production, writing, design, or other contributions specific to your preferred skillset to develop.

LMC 4813 JAH – Special Topics

Credit Hours: 3
Instructor: Jay Bolter
Location: Skiles 357
Days and Times: TR 9:30-10:45am
Description: Class and credit hours equal last digit in course number. Topics of current interest not covered in the regular course offerings.
Catalog Info: Special Topics: Mixed Reality Design Course restricted: Only CM CS majors