Credit Exclusions: No credit granted to those who have completed or are enrolled in GTBOOKS 191 or 201.

How did the Greeks come to invent the first democracy?
Why did the freedom-loving Greeks condone slavery?
Why was the god Dionysus so important to Greek culture

This course is an introduction to the history and culture of this fascinating but paradoxical civilization. We will laugh with the ancient comedians and think with the ancient philosophers. We will also confront the contradictions of this complex society. There will be approximately 75-100 pages of reading per week, two short projects (for example, a presentation and a short paper), a midterm and a final examination. No previous knowledge is required.

Advisory Prerequisite: FR./SO./PER.

An intensive writing course focusing on multiple translations of works, asking students to consider how these translation reflect different cultural times and milieu as well as choices in language. Students work intensely with issues of composition, argument, and source material related to the creative texts.

An intensive writing course focusing on multiple translations of works, asking students to consider how these translation reflect different cultural times and milieu as well as choices in language. Students work intensely with issues of composition, argument, and source material related to the creative texts.

An intensive writing course focusing on multiple translations of works, asking students to consider how these translation reflect different cultural times and milieu as well as choices in language. Students work intensely with issues of composition, argument, and source material related to the creative texts.

An intensive writing course focusing on multiple translations of works, asking students to consider how these translation reflect different cultural times and milieu as well as choices in language. Students work intensely with issues of composition, argument, and source material related to the creative texts.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This section of English 124 will focus on the construction of childhood and adolescence in literature. To this end, we will explore works "for" young adults –Harry Potter, Anne of Green Gables — as well as literary works "for" adults that depict key moments in adolescent development. Examples of the latter may include works by J.D. Salinger, Carson McCullers, Toni Morrison, and others.

In addition to its thematic and personal importance, our attention to the construction of adolescence in fiction is designed to heighten our awareness of language and audience. Is youth portrayed differently in works *for* youth, as opposed to works merely *about* youth? How might the depictions change if we investigate works by young authors? What is the relationship between the writing style of these works and the topics they portray?

While these literary concerns will be at stake throughout the course, English 124 is designed fundamentally as a writing course. Emphasis will be placed on the thesis-centered persuasive paper that uses literary analysis. Other assignments may include descriptive papers, peer evaluations, exploratory essays, personal response papers, creative response papers, argumentative essays, and research/citation/bibliographic papers.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

In this course we will examine a range of texts — poetry, short stories, philosophy, and psychology — written between the years 1887-1945 to investigate the literary period that has come to be known as "modernism." We will focus on the tension inherent in the modernist impulse to use materials from the past in order, as Ezra Pound puts it, to "make it new." How do these allusive yet iconoclastic texts dismantle the distinction between writer and reader? How do the modernists represent authorial identity and individual identity? What happens to character and the lyric "I" in modernist fiction and poetry? What theory of the "self" does modernist psychology construct? What problems do modernist texts — which not only appropriate prior material, but also often involve extensive collaboration between a writer and an editor — pose to our understanding of authorship and identity?

Assigned readings will include selections from Nietzsche, Freud, Virginia Woolf's polemical treatment of the relationship between gender and authority in *A Room of One's Own*, the manuscript and published versions of T.S. Eliot's poem *The Waste Land* (to which the poet Ezra Pound made extensive revisions), essays by Eliot and Pound, short stories by James Joyce and Gertrude Stein, and poems and essays by Marianne Moore, H.D., Mina Loy, W.H. Auden, and others.

As we explore how the modernists borrowed from and challenged their literary predecessors, you, too, will learn to engage literature through your own writing. This intensive introduction to composition will help you develop the tools to understand books by writing about them. You will write short responses to your reading in preparation for each class, and I will assign in-class writing assignments from time to time. You will submit four formal essays over the course of the semester (4-6 pp.). Self-assessment and peer critique will comprise a substantial part of the course: you will revise and expand one of your essays (6-8 pp.) through class workshops.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This is an introduction to college composition using as its focus for discussion and writing 20th (and 21st) century American literature of war. If war heightens our own human dramas, highlighting our capacity for good and evil, heroism and humiliation, what can we learn about ourselves from reading remarkable works of war literature? What are the clichés of war (such as those used in the preceding sentence) and how do clichés about "the other" or about war or masculinity or patriotism function? Is it possible to formulate ideas of good and evil, heroism and humiliation that go beyond their movie-worn versions? For example, since war entails killing, how must we think about other people before we — you and I (let's be personal here) — can kill them? What makes a person into an enemy? What makes us into people capable of killing? Is war gendered? Why is war so often associated with masculinity and what are the nature and implications of the association?

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course will look at how writers of the last sixty years have interpreted and re-imagined history through the lens of fiction. More specifically, we will look at "magic realism," a genre of literature that incorporates elements of folklore, surrealism, fantasy, and the grotesque, while also being wedded to the realities and problems of history. How might works of magic realist fiction engage, subvert or reinscribe official "textbook" histories, which have silenced certain marginalized voices? How might a narrative that suspends reality from its historical moorings, actually allow us to understand better the past and our present? Readings may include works by Alejo Carpentier, Toni Morrison, Emile Habiby, Mahasweta Devi, Bertolt Brecht, Gü nter Grass, Walter Benjamin, Gabriel Garcia Marquez, and Salman Rushdie. This course will require a substantial amount of reading, including both fictional and historical material, as well as writing: four 3-5 page essays, including the revision and expansion of one of these into a 6-7 page paper.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This writing course focuses on the creation of complex, analytical, well-supported arguments that matter in academic contexts. Students work closely with their peers and the instructor to develop their written prose. Readings cover a variety of different genres, with a primary focus on literary texts.

This section will focus on place: how we observe and inhabit it, what meaning setting can convey in fiction, how poets bring us to other places in their pointillistic ways. Come prepared to explore ideas about buildings, language, Ann Arbor, and wild and urbanized landscapes of all kinds.

The notion of travel is a rich and varied subject used by many writers in all genres of literature. In this class, we will be using the overarching theme of travel as an opportunity for each of you to develop your individual voices as writers while developing essay-writing skills in a variety of styles to help meet your college writing needs. To accomplish these skills, we will engage with an assortment of travel essays, fictional accounts of characters who travel, and poems about journeys, which we will then discuss in terms of style and content. Reading and writing themselves can also be acts of traveling and we will pay attention to these metaphorical notions of journeying as well.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

The notion of travel is a rich and varied subject used by many writers in all genres of literature. In this class, we will be using the overarching theme of travel as an opportunity for each of you to develop your individual voices as writers while developing essay-writing skills in a variety of styles to help meet your college writing needs. To accomplish these skills, we will engage with an assortment of travel essays, fictional accounts of characters who travel, and poems about journeys, which we will then discuss in terms of style and content. Reading and writing themselves can also be acts of traveling and we will pay attention to these metaphorical notions of journeying as well.

In this course, we will be reading literature written by women that provocatively addresses issues of women's lives. Throughout the term, we will be discussing and analyzing such topics as sexuality, body image, family, the politics of gender, and how ethnic, religious and other identities affect women's lives. We will be developing academic writing skills through the framework of these texts, and you will be producing four essays ranging from autobiographical writing to critical analyses of particular literary texts. Texts will include a short novel, short stories, non-fiction essays, and poetry.

This writing course, "Diversity and American Literature" focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and the professor to develop their written prose. Readings cover a variety of different genres, with a primary focus on literary texts. This course, "Diversity and American Literature," is designed to hone your critical thinking and writing skills and to accustom you to thinking about writing as a multi-step process.

Together we will explore poems, short stories, plays, and films that offer diverse perspectives on what it means to be "American." In class discussion and written assignments, we will contemplate how gender, race, class, and sexuality shape understandings of Americanness at different historical moments.

You will complete rough and final drafts of several essays that you workshop with a peer group, as well as a number of shorter writings to be assigned throughout the term. Your essays will yield a total of 20-30 pages of polished prose by the end of the semester; in addition, you will submit some form of writing each week. Put simply, to become a better writer, you must do quite a lot of writing.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This section of English 124 will focus on the construction of childhood and adolescence in literature. To this end, we will explore works "for" young adults –Harry Potter, Anne of Green Gables — as well as literary works "for" adults that depict key moments in adolescent development. Examples of the latter may include works by J.D. Salinger, Carson McCullers, Toni Morrison, and others.

In addition to its thematic and personal importance, our attention to the construction of adolescence in fiction is designed to heighten our awareness of language and audience. Is youth portrayed differently in works *for* youth, as opposed to works merely *about* youth? How might the depictions change if we investigate works by young authors? What is the relationship between the writing style of these works and the topics they portray?

While these literary concerns will be at stake throughout the course, English 124 is designed fundamentally as a writing course. Emphasis will be placed on the thesis-centered persuasive paper that uses literary analysis. Other assignments may include descriptive papers, peer evaluations, exploratory essays, personal response papers, creative response papers, argumentative essays, and research/citation/bibliographic papers.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

New York, San Francisco, Los Angeles, Minneapolis, Detroit, Santa Fe, Seattle, Miami, Atlanta, Houston, Tulsa, Denver — these simple words call up complex associations and emotions. In this course, we'll be exploring that provoking modern space — the American city. Our reading will examine cities across the United States and sample from a number of genres and historical eras. The breadth of this material will allow you to consider the many ways a writer may choose to tackle a similar subject. Our syllabus may include such works as Allen Ginsberg's "Howl," Edgar Allen Poe's "Man of the Crowd," N.W.A.'s "Straight Outta Compton," Edwidge Danticat's "New York Day Woman," op-ed articles from newspapers, Chester Himes' If He Hollers, Let Him Go, and Eudora Welty's "Curtain of Green," among others.

The focus of this course is your own writing. You will craft short weekly response papers, and we will take time in class to write. You will submit two formal essays (3-5 pages), one of which you will develop into a final paper (6-7 pages) through peer review and workshops. The primary goal of this course is to help you develop a set of strategies for approaching and understanding the critical writing required at the university level.

This writing course focuses on examining contemporary culture through reading, discussing, and analyzing various texts (both literature and film). We will read and discuss a half dozen or so short stories, at least two novels (Chuck Palahniuk's FIGHT CLUB and Don DeLillo's WHITE NOISE) and at least three films. This is a writing-intensive course and in addition to short written responses to EACH of the readings, you will be expected to write and revise three analytical papers on topics of your choice.

The primary goal of this course is to help you learn to write clear, compelling, and sophisticated prose. We will develop these skills through a range of methods: readings, discussions, writing exercises, peer critiques, and responses to other forms of expression such as media, visual art, music, and film. Because writing is an organized way of thinking, our engagement with the subject matter will be focused primarily on issues of style, craft, and execution.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

In this course we sharpen our writing skills as we discuss and think about representations of the American Road Trip in literature, art, film, music and journalism. Who goes on Road Trips and why? How do Road Trips open our eyes to diverse people and experiences within our own country? What types of writing and representation result from road trips? Is there an "American Road Trip Aesthetic?" Are there specific politics and social responsibilities attached to the American Road Trip? Have you gone on a good Road Trip? We consider all of these questions about the genre of the American Road Trip in conjunction with some disciplined work on writing skills.

Students can expect to come away equipped to write at a college level especially in the Humanities and related fields. We focus on developing a strong writer's voice, mastering written grammar, organizing clear, insightful essays and revising drafts thoroughly and productively. Much of the course will be devoted to collaboration with classmates in peer workshopping sessions. By the end of the term each student will produce no less than 20 pages of polished prose.

From celebrity tell-alls, autobiography fads, Sunday confessions to psychotherapy, there seems to be, in us, a desire to tell our own stories, as a form of self-understanding — a form of self-disclosure and self-discovery. Literature has always been a hotbed of this practice, and in this course, we will read a selection of "confessional" literature across genres and time periods, such as "confessional" poetry of the 20th century (Plath, Sexton), classic fictional autobiographies (Dostoevsky's Notes from the Underground), and contemporary American personal essays (Grealy, Ehrlich); we will examine the urges behind confession in these works and explore the ideas and life experiences that form and inform the interiority of an individual and of humanity. Some of the questions we'll ponder over the course of the semester include: where does our desire for self-disclosure come from? How does self-disclosure lead to self-discovery — how are the two related to one another? And what does it mean to "discover" oneself?

The writing assignments for this course will entail the standard English 124 requirement (roughly four papers of about 5-7 pages), along with short informal writings and journal assignments in response to the assigned readings, in which you may, if you wish, do a bit of your own "confession." We will guide ourselves through the process of writing as an act of discovery in itself — exploring meaning in the making, analyzing our thoughts in action — and learn to become independent writers through extensive workshops and revisions.

In Western culture, we often think of the "self" as a separate, distinct thing of its own. But in this class, we'll try to think about the fact that each "self" is bound up with lots of other "selves" — mothers, fathers, brothers, sisters, lovers, friends, enemies. This semester, we will be trying to answer the question: To what extent does our identity depend on our relationships with all the people that matter in our lives, for good or ill (or, more likely, both)? We'll read short stories by James Joyce, Tillie Olsen, William Faulkner, and Charlotte Gilman, poetry by Walt Whitman, Robert Haydn, William Blake, e.e. cummings, and William Wordsworth, and a novel, _Mama Day_, by Gloria Naylor as we analyze and explore the ways identities are built from relationships of all kinds. And, most importantly, we will be writing; this is a serious writing class, with four carefully revised papers and multiple shorter writing assignments. You will have the opportunity to think closely about your own writing process, while learning to write complex, analytic, persuasive arguments about literature.

This is an introduction to college composition using as its focus for discussion and writing 20th (and 21st) century American literature of war. If war heightens our own human dramas, highlighting our capacity for good and evil, heroism and humiliation, what can we learn about ourselves from reading remarkable works of war literature? What are the clichés of war (such as those used in the preceding sentence) and how do clichés about "the other" or about war or masculinity or patriotism function? Is it possible to formulate ideas of good and evil, heroism and humiliation that go beyond their movie-worn versions? For example, since war entails killing, how must we think about other people before we — you and I (let's be personal here) — can kill them? What makes a person into an enemy? What makes us into people capable of killing? Is war gendered? Why is war so often associated with masculinity and what are the nature and implications of the association?

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

Each day we come across a wide variety of images — advertisements in magazines, comics in the newspaper, paintings in the art museum, snapshots of our friends and families — images that make us buy things, feel a certain way, or remember certain events. In this section of ENGLISH 124 we will be reading and writing about works of literature that deal with looking at visual images. How does a poet write about the Mona Lisa? What does a Marxist have to say on advertising? Why do two of the writers we will read in this class represent a painting as killing the subject it depicts? We will be reading poems by William Wordsworth, Elizabeth Barrett Browning, Edith Wharton, Charles Baudelaire, and W.H Auden, as well as a story by Edgar Allan Poe and Oscar Wilde's The Picture of Dorian Gray.. We will talk about what images communicate to these writers, and how they write what they see. To guide our readings of these works, we will also be looking at two non-fiction pieces: John Berger's Ways of Seeing and Mark Doty's Still Life with Oysters and Lemon.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

In this course we will examine how writers have represented the human mind in all its complexity. We will think about how words are capable (or incapable) of capturing thought, and consider how literary language is uniquely suited to psychological exploration. We will also ask how literature not only represents the mind, but shapes it, as well; that is, how literature affects our personal patterns of thinking.

In order to answer these questions, we will read psychologically-complex works by authors that are likely to include Freud, Hemingway, and Flannery O'Connor. We will also study two longer works: Shakespeare's Othello and Dostoevsky's Crime and Punishment.

This course will also focus on helping you represent your own complex thoughts in writing. Our primary goal will be to help you develop the analytical and stylistic skills that are fundamentally important to the college-level writer. We will be thinking together about how to approach each step of the writing process, from initial questions and observations of a text to the revision of your work. With devotion and effort, you will leave the course equipped to compose insightful and well-constructed essays.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

The primary purpose of this course is to develop and refine each student's analytic and writing skills in preparation for the challenges of academic life at the University. In addition to general readings on the writing process, this section of English 124 will utilize the literature of immigration from various periods of American history to explore form, voice, structure, and to analyze the elements of compelling writing. Immigration is central to the American experience and the current debate over the topic spans across political, cultural, social, economic, and philosophical concerns. Readings will include stories, narratives and essays on immigration from the early settlers of "The New World" to the present day national discussion of immigration. This is not a course on current affairs although the timeliness of the subject matter should help inspire our thoughts, discussions, and writing.

Students will work with the instructor, small groups, and in open class discussion to produce 4 polished essays by the end of the semester. Students will be asked to write regularly both in and out of class to produce: reading summaries/responses, discussion questions, peer critiques, and in-class timed writing.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

Tenements, factories, the stock market, crime, telephones, railroads, electricity, museums, newspapers, photography, department stores, and automobiles: how did American writers experience and describe these now-familiar elements of our society for the first time? The period of 1880-1920 in America was one of incredible technological, economic and social change, and writers like Stephen Crane, Edith Wharton, Frank Norris and Theodore Dreiser depicted these changes with a vivid urgency. Some of these writers sought to expose the social problems of modern urban life; some praised the new opportunities it offered, and some did both. Yet despite their varying attitudes toward modernity, all of these writers shared an interest in portraying its ordinary, nitty-gritty details in an accurate and life-like manner. What can investigating these literary efforts to provide accurate portrayals of the modernization of American life during the early part of the 20th century teach us about reading critically and writing persuasively?

Despite any appearances or claims of accuracy and objectivity, each of the works we will be studying is a human creation, crafted and constructed not only by observation, but also by the imagination and logic of a writer. In this course, you will be called upon to interrogate these constructions of reality with your own writing. Throughout the course, we will focus on helping you find and develop your voice as an academic writer. In order to do this, you will be engaged in various kinds of writing throughout the term. You will keep a reading journal, tracking your notes, observations and ideas about the texts we read and our class discussions; you will also be writing three short essays (4-6 pages). For each of these essays, you will receive feedback from me and from your classmates at various stages of the writing process. We will focus on "macro" concepts like developing strong overall arguments and using textual evidence effectively, but we will also spend considerable time on "micro" issues of sentence structure, punctuation, grammar and vocabulary.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and the instructor to develop their written prose. Readings cover a variety of different genres, with a primary focus on literary texts.

This section of English 124 shall focus on "literatures of witness" — those narratives predicated on the authenticity of having "been there." We will read fiction, poetry, and memoir, interrogating the ways in which literary works make truth claims regarding characters, events, and settings we might presume, despite the definitive artifice of the literary, to be "real."

Some of our readings and all of our written assignments for this course will be posted to the Ctools site, as PDF documents, no later than a week before they are due. Students are responsible for printing these documents and bringing them to class on days when they will be discussed, in addition, of course, to reading them at least once (but preferably twice). Although we will discuss writing assignments in class, they will be posted in their definitive, written forms on our Ctools site. Readings appear in the "Resources" section of the site, while writing assignments appear in the "Assignments" section. Other than a repository for assigned readings and descriptions of writing assignments, the site will be practically inactive. Changes to course schedule or other matters pertaining to the syllabus will be announced in class or, in a pinch, via email.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

This course studies the intersection between critical thinking and persuasive writing, and, using literary texts as the point of reference, takes as its goal the development of the student's skill at writing cogent expository and argumentative prose.

In this course, we will work on improving your confidence and competence in writing collegiate essays. We will focus on developing the critical thinking, reading, writing, and argumentation skills necessary to produce effective, competent college writing.

All sections of ENGLISH 125 focus on creating complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and instructor to develop their writing, and readings cover a variety of different genres and academic disciplines.

This section, in particular, focuses on the power of language and literacy. Learning to use literacy as a tool will help you in your classes and in your personal and professional endeavors. This course is designed to guide you as you develop your literacy skills through a rich exploration of language. You will have the opportunity to practice critical reading and writing on a regular basis and in a collaborative learning environment. Class meetings will often be devoted to group work and will focus on the interplay of author, text, reader, and context or community.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. You will work closely with your peers and with me to develop your written prose. The readings will cover a variety of genres.

In this class, you will learn and practice working with the essential building blocks of writing. You will apply these skills to a variety of written assignments, aided by discussions, workshops, and individual conferences with me. We will emphasize constructing the thesis, developing and organizing content, planning an essay, drafting, and revising.

This class is for motivated students who truly want a solid foundation of writing skills, but also want to build upon that foundation with imagination and originality.

All sections of ENGLISH 125 focus on creating complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and instructor to develop their writing, and readings cover a variety of different genres and academic disciplines.

In this section of 125 we will consider the role of memory in writing. In what ways does memory effect writing? Does writing effect our memories? Is it possible to accurately remember or narrate an experience? Is there a cultural experience of memory or is remembering necessarily an individual act? To answer these questions and others, we will examine our own personal histories, cultural memories, and other narrative representations in order to consider the ways that writers (re)collect memories and translate them into text.

Texts: The Bedford Reader, X. J. Kennedy, available at Shaman Drum on State Street; course pack available at Accu-Copy, two blocks down from State Street on William.

ENGLISH 125 is designed to bridge the difficult transition between high school and college level writing, writing for different subjects. An essay that might have earned an A in high school might earn a D in college. The reason for this involves the new set of criteria expected at the college level. You will need to engage original ideas in your writing with a clear thesis statement that includes tension and supports your main argument. This also includes challenging your own first, second, and third idea about a subject or situation. College writing requires more original argument, clear thesis and developed support and analysis. It also involves writing for different audiences and in different formats. For example, your assessment of a stand of redwoods would necessarily be different if you were writing an article for a nature magazine, a letter to advocates of oil drilling, an annual report to a board of directors, a grant for panel review, or a scientific analysis for a biology journal. The required format of each of the above is also different. Also, you will need to imagine "the other side" and not only answer but convince your audience with counter argument.

Course Goals:The above means that assignments are designed to elicit original thinking, careful consideration, analysis and interpretation from the writer NOT to give obvious, illogical or, frankly, clichéd or boring writing. Also, be wary of trying to guess what I would like to hear. Your job is to challenge your own ideas as well as others. What do you really think and why? Why is the MOST important aspect. What evidence, examples, considerations, analysis supports your point of view? We will use different lenses to place over our writing and others in this process of examination and revision. By the end of the course, you should be able to critique your own writing and others using the frame of introduction (subject and tension), body (support, examples, evidence), conclusion (interpretation, final point of view). Also, you should be able to adequately put the lenses of logic, clarity/cohesion, syntax, texture, and grammar over various types of writing. As well, you should be able to consider various writing and how different appeals the writer uses aids their credibility: emotional, value, logic and facts, character and humor. You will be asked to comment on others' writing as well as revise your own. This will aid in the writing process. You will also be asked to read and digest the structure and methods of published writers.

The Work: You will be asked to write six papers total. Two will be three-page papers that will be workshopped either in small group workshops or in the large group workshop. The other two papers will be longer, five- to six-page papers that may develop further your earlier shorter papers. However, if the ideas of either shorter paper don't seem worthwhile to be revised into a longer paper, you have the option of using one of two one-page papers as either longer paper. The one-page papers will be assigned later in the semester. This way you have a choice in subjects. Writers tend to write well about subjects in which they are interested. That is the case here. Within a framework, you will be able to choose your own subjects to write about. Each student will have the opportunity to have one paper workshopped in small group workshop with their peers and one paper workshopped in the large group workshop with myself and their peers. Essay options will include personal, comparison/contrast, definition, persuasive, and exploratory. You will also be asked to complete written peer critiques of other students' work and to contribute to workshop discussion. Peer critiques are due on email to me and the student author. Inclass writings respond to the assigned readings and are graded.

Workshop Your name already appears on the schedule for workshop. For the large group workshop ONLY, and ONLY ONCE, you are asked to bring 19 copies of your paper to class. Workshop is an in depth process and you'll be asked to comment on many levels of the writing including the different lenses mentioned above. Because it is always difficult to see your OWN writing, it is imperative that you attend workshop, especially when your own writing is NOT discussed, to receive an adequate grade. It is usually easier to see others' writing more clearly than your own. That is why this is part of the process of applying standards to your own work. You need to attend to the complex issues of other writing to then be able to internalize that process for your own writing. That is one of the real pleasures of workshop: collaborative learning, being able to assimilate techniques from others. Missing more than one workshop can result in your being graded down one third of your overaall class grade.

How will I be evaluated?

A rough outline of standards for what each grade means is online on CTools under Grade Outline. Generally, the quality and originality of the thinking is evaluated, along with other aspects of writing. How insightful, interesting, cohesive are the ideas? What types of appeal do you successfully use to convince your audience? What support is well developed? How in depth is your counter argument? What cements the bridge between your argument and your support? What is the level of analysis? Do you address obvious counter arguments or not? The breakdown is below.

Two two-page papers 15 percent each Written peer critiques 10 percent Two Five- to six-page papers 20 percent each Inclass writings 10 percent Two One-page papers 5 percent each Class Participation and Attendance I no longer give a direct grade for class participation. However, if, at the end of the semester, you are between two grades and your class participation has been extremely high, consistently commenting on others' work in workshop, contributing to class discussion, and you have not missed more than one class session, I will award you the higher grade. Otherwise, you will receive the lower grade. Your grade may also be decreased by up to one half-grade for failing to attend to other students' contributions during workshop and/or class discussion. Attendance at all class sessions is considered mandatory. Your grade may also be decreased by up to one-half grade down for missing more than three class sessions. Be sure to contact me about any missed classes.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and the instructor to develop their written prose. Readings cover a variety of different genres and academic disciplines.

In this section, we will read, think and write analytically about various topics like space, citizenship and diversity. Students will learn to generate ideas and express them in clear and well-supported argumentative writing.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers to develop their written prose. Readings cover a variety of different genres.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

Texts: The Bedford Reader, X. J. Kennedy, available at Shaman Drum on State Street; course pack available at Accu-Copy, two blocks down from State Street on William.

ENGLISH 125 is designed to bridge the difficult transition between high school and college level writing, writing for different subjects. An essay that might have earned an A in high school might earn a D in college. The reason for this involves the new set of criteria expected at the college level. You will need to engage original ideas in your writing with a clear thesis statement that includes tension and supports your main argument. This also includes challenging your own first, second, and third idea about a subject or situation. College writing requires more original argument, clear thesis and developed support and analysis. It also involves writing for different audiences and in different formats. For example, your assessment of a stand of redwoods would necessarily be different if you were writing an article for a nature magazine, a letter to advocates of oil drilling, an annual report to a board of directors, a grant for panel review, or a scientific analysis for a biology journal. The required format of each of the above is also different. Also, you will need to imagine "the other side" and not only answer but convince your audience with counter argument.

Course Goals:The above means that assignments are designed to elicit original thinking, careful consideration, analysis and interpretation from the writer NOT to give obvious, illogical or, frankly, clichéd or boring writing. Also, be wary of trying to guess what I would like to hear. Your job is to challenge your own ideas as well as others. What do you really think and why? Why is the MOST important aspect. What evidence, examples, considerations, analysis supports your point of view? We will use different lenses to place over our writing and others in this process of examination and revision. By the end of the course, you should be able to critique your own writing and others using the frame of introduction (subject and tension), body (support, examples, evidence), conclusion (interpretation, final point of view). Also, you should be able to adequately put the lenses of logic, clarity/cohesion, syntax, texture, and grammar over various types of writing. As well, you should be able to consider various writing and how different appeals the writer uses aids their credibility: emotional, value, logic and facts, character and humor. You will be asked to comment on others' writing as well as revise your own. This will aid in the writing process. You will also be asked to read and digest the structure and methods of published writers.

The Work: You will be asked to write six papers total. Two will be three-page papers that will be workshopped either in small group workshops or in the large group workshop. The other two papers will be longer, five- to six-page papers that may develop further your earlier shorter papers. However, if the ideas of either shorter paper don't seem worthwhile to be revised into a longer paper, you have the option of using one of two one-page papers as either longer paper. The one-page papers will be assigned later in the semester. This way you have a choice in subjects. Writers tend to write well about subjects in which they are interested. That is the case here. Within a framework, you will be able to choose your own subjects to write about. Each student will have the opportunity to have one paper workshopped in small group workshop with their peers and one paper workshopped in the large group workshop with myself and their peers. Essay options will include personal, comparison/contrast, definition, persuasive, and exploratory. You will also be asked to complete written peer critiques of other students' work and to contribute to workshop discussion. Peer critiques are due on email to me and the student author. Inclass writings respond to the assigned readings and are graded.

Workshop Your name already appears on the schedule for workshop. For the large group workshop ONLY, and ONLY ONCE, you are asked to bring 19 copies of your paper to class. Workshop is an in depth process and you'll be asked to comment on many levels of the writing including the different lenses mentioned above. Because it is always difficult to see your OWN writing, it is imperative that you attend workshop, especially when your own writing is NOT discussed, to receive an adequate grade. It is usually easier to see others' writing more clearly than your own. That is why this is part of the process of applying standards to your own work. You need to attend to the complex issues of other writing to then be able to internalize that process for your own writing. That is one of the real pleasures of workshop: collaborative learning, being able to assimilate techniques from others. Missing more than one workshop can result in your being graded down one third of your overall class grade.

How will I be evaluated?

A rough outline of standards for what each grade means is online on CTools under Grade Outline. Generally, the quality and originality of the thinking is evaluated, along with other aspects of writing. How insightful, interesting, cohesive are the ideas? What types of appeal do you successfully use to convince your audience? What support is well developed? How in depth is your counter argument? What cements the bridge between your argument and your support? What is the level of analysis? Do you address obvious counter arguments or not? The breakdown is below.

Two two-page papers 15 percent each Written peer critiques 10 percent Two Five- to six-page papers 20 percent each Inclass writings 10 percent Two One-page papers 5 percent each Class Participation and Attendance I no longer give a direct grade for class participation. However, if, at the end of the semester, you are between two grades and your class participation has been extremely high, consistently commenting on others' work in workshop, contributing to class discussion, and you have not missed more than one class session, I will award you the higher grade. Otherwise, you will receive the lower grade. Your grade may also be decreased by up to one half-grade for failing to attend to other students' contributions during workshop and/or class discussion. Attendance at all class sessions is considered mandatory. Your grade may also be decreased by up to one-half grade down for missing more than three class sessions. Be sure to contact me about any missed classes.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

Texts: The Bedford Reader, X. J. Kennedy, available at Shaman Drum on State Street; course pack available at Accu-Copy, two blocks down from State Street on William.

Course Description: ENGLISH 125 is designed to bridge the difficult transition between high school and college level writing, writing for different subjects. An essay that might have earned an A in high school might earn a D in college. The reason for this involves the new set of criteria expected at the college level. You will need to engage original ideas in your writing with a clear thesis statement that includes tension and supports your main argument. This also includes challenging your own first, second, and third idea about a subject or situation. College writing requires more original argument, clear thesis and developed support and analysis. It also involves writing for different audiences and in different formats. For example, your assessment of a stand of redwoods would necessarily be different if you were writing an article for a nature magazine, a letter to advocates of oil drilling, an annual report to a board of directors, a grant for panel review, or a scientific analysis for a biology journal. The required format of each of the above is also different. Also, you will need to imagine "the other side" and not only answer but convince your audience with counter argument.

Course Goals:The above means that assignments are designed to elicit original thinking, careful consideration, analysis and interpretation from the writer NOT to give obvious, illogical or, frankly, clichéd or boring writing. Also, be wary of trying to guess what I would like to hear. Your job is to challenge your own ideas as well as others. What do you really think and why? Why is the MOST important aspect. What evidence, examples, considerations, analysis supports your point of view? We will use different lenses to place over our writing and others in this process of examination and revision. By the end of the course, you should be able to critique your own writing and others using the frame of introduction (subject and tension), body (support, examples, evidence), conclusion (interpretation, final point of view). Also, you should be able to adequately put the lenses of logic, clarity/cohesion, syntax, texture, and grammar over various types of writing. As well, you should be able to consider various writing and how different appeals the writer uses aids their credibility: emotional, value, logic and facts, character and humor. You will be asked to comment on others' writing as well as revise your own. This will aid in the writing process. You will also be asked to read and digest the structure and methods of published writers.

The Work: You will be asked to write six papers total. Two will be three-page papers that will be workshopped either in small group workshops or in the large group workshop. The other two papers will be longer, five- to six-page papers that may develop further your earlier shorter papers. However, if the ideas of either shorter paper don't seem worthwhile to be revised into a longer paper, you have the option of using one of two one-page papers as either longer paper. The one-page papers will be assigned later in the semester. This way you have a choice in subjects. Writers tend to write well about subjects in which they are interested. That is the case here. Within a framework, you will be able to choose your own subjects to write about. Each student will have the opportunity to have one paper workshopped in small group workshop with their peers and one paper workshopped in the large group workshop with myself and their peers. Essay options will include personal, comparison/contrast, definition, persuasive, and exploratory. You will also be asked to complete written peer critiques of other students' work and to contribute to workshop discussion. Peer critiques are due on email to me and the student author. Inclass writings respond to the assigned readings and are graded.

Workshop Your name already appears on the schedule for workshop. For the large group workshop ONLY, and ONLY ONCE, you are asked to bring 19 copies of your paper to class. Workshop is an in depth process and you'll be asked to comment on many levels of the writing including the different lenses mentioned above. Because it is always difficult to see your OWN writing, it is imperative that you attend workshop, especially when your own writing is NOT discussed, to receive an adequate grade. It is usually easier to see others' writing more clearly than your own. That is why this is part of the process of applying standards to your own work. You need to attend to the complex issues of other writing to then be able to internalize that process for your own writing. That is one of the real pleasures of workshop: collaborative learning, being able to assimilate techniques from others. Missing more than one workshop can result in your being graded down one third of your overall class grade.

How will I be evaluated?

A rough outline of standards for what each grade means is online on CTools under Grade Outline. Generally, the quality and originality of the thinking is evaluated, along with other aspects of writing. How insightful, interesting, cohesive are the ideas? What types of appeal do you successfully use to convince your audience? What support is well developed? How in depth is your counter argument? What cements the bridge between your argument and your support? What is the level of analysis? Do you address obvious counter arguments or not? The breakdown is below.

Two two-page papers 15 percent each Written peer critiques 10 percent Two Five- to six-page papers 20 percent each Inclass writings 10 percent Two One-page papers 5 percent each Class Participation and Attendance I no longer give a direct grade for class participation. However, if, at the end of the semester, you are between two grades and your class participation has been extremely high, consistently commenting on others' work in workshop, contributing to class discussion, and you have not missed more than one class session, I will award you the higher grade. Otherwise, you will receive the lower grade. Your grade may also be decreased by up to one half-grade for failing to attend to other students' contributions during workshop and/or class discussion. Attendance at all class sessions is considered mandatory. Your grade may also be decreased by up to one-half grade down for missing more than three class sessions. Be sure to contact me about any missed classes.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and instructor to develop their written prose. Readings cover a variety of different genres and academic disciplines.

How important are our assumptions about language, culture, and environment to the process of thinking and writing? In this course we will take a rigorous analytical look at the subjects of our reading and writing in the hope of challenging some of our safe and easy assumptions about them. By clearing away these assumptions, not only will our writing become sharper and stronger, but the enhanced capacity for critical thinking should lead us to develop more detailed, more interesting, and more original expository and argumentative essays.

We will look at a wide range of professional essays, but will also spend a good bit of time examining writing from within our class. By engaging in peer editing, reading both classic essays and the discourse of contemporary culture, and writing and rewriting pages of carefully considered prose, students will gain knowledge and skills for further academic writing. Each formal paper will have a prescribed approach and a specific aim, but students will have free reign to invent their own paper topics.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

Introduction to English Composition focuses on the rhetorical strategies and research skills students need to succeed in their academic endeavors. This course is also a themed course examining the ramifications of "literacy" throughout academic, professional, and pupular cultures. Students will have an opportunity to explore their personal interests by engaging in dialogue between common and academic disciplines.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and instructor to develop their written prose. Readings cover a variety of different genres and academic disciplines.

This course is designed to help you develop skills necessary for effective college-level writing. Over the course of the semester you will learn how to write personal narratives, persuasive essays, and summaries in a fashion suitable for academic discourse. We will spend a good deal of time on the process of revision; learning to work in steps towards prose that is marked by coherence, clarity, and intellectual force. You will also learn how to synthesize academic arguments efficiently and effectively.

What you read is the result of a process of writing. Reading a well-written piece is therefore helpful in acquiring good writing skills. In order to be able to practice various writing skills, you will need to have sufficient knowledge about issues and topics on which you will write. You will therefore read about various themes and issues that already exist, and respond to them in your writing. This will provide an opportunity for reflection and critical analysis of the topics discussed in the reading, which in turn will serve as a background for your writing assignments. The clarity of your writing will, to an extent, depend on how closely you have done the readings.

The college of LS&A states that at the end of ENGLISH 125, students should be able to: 1. Revise argumentative/expository writing in order to improve correctness, appropriateness of expression, and development of ideas. 2. Organize essays of varied lengths. 3. Use outside sources correctly and effectively in developing ideas. 4. Set appropriate individual goals for improving writing and devise effective plans for achieving those goals. 5. Collaborate with peers to define revision strategies for particular pieces of writing and to set goals for improving writing.

My goals for this course are to help you to develop meaningful, persuasive prose; to emphasize that thinking and writing are often an intertwined process; and finally, to give you a greater appreciation for the complexity and richness of language (both written and spoken) that is so often taken for granted.

We will aim for lively and efficient communication in this class — our goal is writing that "bites," that is sharp, focused, concise, and elegant. Class will be informed by a textbook, and by a coursepack of useful essays and other compositions. Student work will be critiqued in the workshop environment.

Composing the Society of Our Dreams: The Social Role of Language in College Writing This course will provide an introduction to the study of composition and rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays. You will begin this course by writing a personal essay about yourself and your life experiences, but we will by no means remain at that level of composing. By the end of the course, you should be comfortable writing in the academic register across genres, which will prepare you for the specialized demands of writing at the University of Michigan.

To that end, the authors whose work we will read hail from a broad variety of disciplines and historical periods. They include great contemporary writers and thinkers who have contributed to our understanding of society such as Azar Nafisi, Audre Lorde, Stephen King, Jonathan Kozol, and Mari Matsuda. Later, as you prepare to write your position paper, we will consider ideal societies (also known as utopias) as conceived by some of the greatest thinkers of all time: Sir Thomas More, Niccolo Machiavelli, Jonathan Swift, Thomas Jefferson, Elizabeth Cady Stanton, Dr. Martin Luther King, Jr., Ursula K. LeGuin, and others. However, this work will only serve as a backdrop for our main focus: your development as an academic writer.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

The year is 1955. Americans are watching their first color television, going to Disneyland, and eating McDonald's hamburgers for the first time. The Civil Rights movement gains prominent attention when Rosa Parks refuses to ride in a segregated bus. The term AI (articificial intelligence) is coined by Dartmouth mathematician John McCarthy. Bill Gates is born. Albert Einstein dies.

How do these pieces of information inform one another? How do you connect them? How does your intended major or personal experience affect what is most important? This is a writing based course where you have the opportunity to practice engaged academic work through the course title theme. Emphasis will be on the formation of analysis, how to be relevant and engage ongoing dialogues, and how to sustain/complicate your ideas. The theme of this course gives you the opportunity to practice these skills in a common environment with other students. Texts may include Allen Ginsberg's book of poetry _Howl_, Flannery O'Connor's short story collection _A Good Man is Hard to Find_, speeches, newspaper articles, a viewing of the film noir classic _Kiss Me Deadly_ and Disney's _Lady and the Tramp_.

The films, political manifestos, essays on cultural history and other documents we will examine in this course all work in one way or another to present and defend a particular point of view. As we progress through the term we will concentrate not only on what a given text appears to be arguing but also on how that text works to achieve its ends.

This course has been designed with cumulative learning in mind. As we progress through each week's focus of study, you will see how the readings build into and out of one another. Students will be required to write three substantial essays, and each essay will grow out of a series of pre-draft assignments.

College-level writing calls for clear, concise prose and focused critical analysis, but it also calls for originality, creative thinking, and a strong individual "voice." The best academic essays are sophisticated and thought-provoking, but they balance analytical work with a human voice, an attention to the details of prose in English, and a fluid, conversational logic that draws the argument forward. In this course, we will work toward that perfect balance of poetic language and academic analysis.

The college states that ENGLISH 125 should teach Michigan students to:

• Produce complex, analytic, well-supported arguments that matter in academic contexts. • Read, summarize, analyze, and synthesize complex texts purposefully in order to generate and support writing. • Demonstrate an awareness of the strategies that writers use in different rhetorical situations. • Develop flexible strategies for organizing, revising, editing, and proofreading writing of varying lengths to improve development of ideas and appropriateness of expression. • Collaborate with peers and the instructor to define revision strategies for particular pieces of writing, set goals for improving writing, and devise effective plans for achieving those goals.

We will approach these goals from several angles, beginning with personal narrative, moving into description and argument, and finishing with a longer, individual research project. In the first part of this course, you will have many opportunities to practice and perfect your own style of interesting, grammatical prose. You will be responsible for one 4-5 page expository essay and one 3-4 page descriptive essay, in addition to various shorter writing assignments.

In the second part of the course, we will expand our writing horizons to the kind of thesis-driven, argumentative essay that appears on nearly every university syllabus. Keep in mind that this is not your basic five-paragraph essay! We will start by considering the argumentative structure of newspaper editorials, then we will apply the basics of persuasion to cultural critique and academic research projects. During this time, you will be responsible for one 2 page editorial essay, one 5-6 page cultural critique, and a final 6-8 page research paper in the style of your anticipated major.

My goal in this course is simple: to help each of you become a better writer. Articulating your ideas well on paper and in conversation can be one of your greatest assets in college and professional life. In this course you will learn to identify and analyze the components of good persuasive and expository prose, and you'll develop the essential skills for writing critical and persuasive essays at the college level. You will learn to express and support your own opinions in a way that is appropriate to the genre and clear and interesting to the reader. We will closely study the work of established writers as well as the writing of our peers, and workshops and peer critiques will play a central role in this course. Assignments will include four formal, revised essays, peer critiques, weekly exercises, and readings.

First-year composition course devoted to the writing and revising of several different kinds of essays.

This course is a college writing course exploring argument through fiction and non-fiction to teach students to write more effectively.

Think of the best party or gathering you can imagine. Is it a room filled with clones, moving in unison to repetitive music, talking about the same topics with unvarying perspectives? Or is it an occasion of diversity, one where a variety of faces and shapes dance to unique internal beats, bringing multiple experiences and opinions, each movement and thought fresh and intriguing? Well, if you prefer the latter type of gathering, then this section of ENGLISH 125 is right for you. In it, you will explore, discuss and critique issues of diversity and identification intelligently and respectfully with your peers.

Also, you will improve your critical reading, writing, listening and thinking skills. We will read and view a variety of texts and explore a number of issues and writing styles that will enhance your university experience and prepare you for communication outside of the university. Your writing assignments will help you to identify and explore a central position, and present it in a coherent, well-developed response. Additionally, you will develop your research skills and will learn to use and document sources.

Group discussion, drafting, peer editing, workshopping, conferencing and hard work are essential to successful completion of this course. Come and join the party!

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

The year is 1955. Americans are watching their first color television, going to Disneyland, and eating McDonald's hamburgers for the first time. The Civil Rights movement gains prominent attention when Rosa Parks refuses to ride in a segregated bus. The term AI (articificial intelligence) is coined by Dartmouth mathematician John McCarthy. Bill Gates is born. Albert Einstein dies.

How do these pieces of information inform one another? How do you connect them? How does your intended major or personal experience affect what is most important? This is a writing based course where you have the opportunity to practice engaged academic work through the course title theme. Emphasis will be on the formation of analysis, how to be relevant and engage ongoing dialogues, and how to sustain/complicate your ideas. The theme of this course gives you the opportunity to practice these skills in a common environment with other students. Texts may include Allen Ginsberg's book of poetry _Howl_, Flannery O'Connor's short story collection _A Good Man is Hard to Find_, speeches, newspaper articles, a viewing of the film noir classic _Kiss Me Deadly_ and Disney's _Lady and the Tramp_.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and their instructor to develop their written prose. Readings cover a variety of genres and academic disciplines.

The primary goal of this course is to help you learn to write clear, compelling, and sophisticated prose. We will develop these skills through a range of methods: readings, discussions, writing exercises, peer critiques, and responses to other forms of expression such as media, visual art, music, and film. Because writing is an organized way of thinking, our engagement with the subject matter will be focused primarily on issues of style, craft, and execution.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. You will work closely with your peers and with me to develop your written prose. The readings will cover a variety of genres.

In this class, you will learn and practice working with the essential building blocks of writing. You will apply these skills to a variety of written assignments, aided by discussions, workshops, and individual conferences with me. We will emphasize constructing the thesis, developing and organizing content, planning an essay, drafting, and revising.

This class is for motivated students who truly want a solid foundation of writing skills, but also want to build upon that foundation with imagination and originality.

The primary goal of this course is to develop the ability to tackle effectively the essay form as a medium of writing. We will learn how to use textual and non-textual evidence in the construction of a complex but lucid argument. Hopefully throughout the course students will also see that the ability to write a substantial essay is connected to the ability to read critically. In addition to rigorous writing exercises, a considerable portion of time and effort will therefore be devoted to a close and careful discussion of the assigned readings drawn from different fictional and non-fictional sources such as articles. short stories, poems, etc.

First-year composition course devoted to the writing and revising of several different kinds of essays.

Twenty-first century health professionals face a challenging, multidisciplinary professional environment. The public of the twenty-first century needs health professionals dedicated to the practice of medicine as a public discipline of responsible citizenship. The creative practitioner must possess strong analytic thinking and writing skills to distill the maelstrom of maelstrom of medical information into understandable prose that speaks to the publics he or she is called to serve. This course will prepare the student ready to learn to write clearly and to interest and speak to the intended audience.

A study of rhetoric, both as a body of principles, and as a practical art, emphasizing the writing of expository and argumentative essays.

The primary objective of this course is to prepare you to write effectively. Together, we will study what it means to create the complex, analytic, and well-supported arguments so important in a university setting. Extensive practice and careful examination of the writing and revision processes will contribute to your academic success at the University of Michigan as well as your successful communication outside the classroom — interpersonally, as community members, and professionally. You will be required to write across the disciplines and to hone your skills as an intellectual and a critic, thinking in a variety of modes across the arts and humanities.

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and the instructor to develop their written prose. Readings cover a variety of different genres and academic disciplines.

Whether you're interested in business school, law school, or rock school, the ability to communicate in a clear and compelling manner is key to success in college, and in life. Balancing our time between personal, argumentative, and analytical writing, we will aim to produce essays that are equally deft in vision and execution, displaying purpose, clarity, and elegance. To provide inspiration and lend guidance, we will read a broad selection of writers from varied ages, backgrounds and perspectives, and discuss how they manipulate and exercise their craft.

We will also spend a bit of time in the freshman English trenches, reviewing grammatical fundamentals and rules for research and citation. Perhaps most crucial to our class, however, will be the class time we spend "workshopping" each other's work — providing sensitive constructive criticism toward thoughtful revision and improvements.

You'll find that writing well is a skill that takes effort, discipline, and time, but the rewards — both pragmatic and figurative — are very real.

This course concentrates on acquiring the skills for the kind of writing that is required at the college level. In order to cultivate your ability to think and write critically and analytically, we will read various texts (including essays, advertisements, literary texts, and possibly graphic novels) that deal with diverse topics in regard to our contemporary culture (both in domestic and international contexts). We will treat those reading materials as a sort of sample writings that enable us to think about the ways in which a good analytic writing can be crafted. Major assignments include writing four essays, peer critiques, a short response paper, a discussion question, as well as leading one discussion on a given text.

This course develops student writing using a range of materials that explore the role of the visual in literature and culture.

Literacy today has become "literacies." We live in a world were learning to read visual texts has become as important as learning to read verbal ones. For this course, we will examine closely the rhetorical strategies used when producing both visual images and written works. Objects for our study will include art, essays, advertising, film, photographs, and cartoons. Seeing and writing have much more in common than you might think, and as you sharpen your tools of perception, you will also develop the ability to write with deeper insight and greater persuasiveness. Along with exploring the connections between the visual and verbal, we will spend a great deal of time developing the skills necessary for writing in college — a mastery of grammar and syntax, the ability to write with clarity, and an understanding of what it means to engage in academic discourse.

We are here to develop our craft as writers, and our classroom will function primarily as a workshop environment. As we work toward perfecting our craft, all of us will become comfortable with sharing our work in the classroom and quickly familiar with each other's words and writing. For the purposes of learning, we will become a community of writers. As a community, we will read texts, critically and write about what we see.

Our primary text will be Donald and Christine McQuade's Seeing and Writing 3 (Bedford/St. Martin, 2006).

This writing course focuses on the creation of complex, analytic, well-supported arguments that matter in academic contexts. Students work closely with their peers and the instructor to develop their written prose. Readings cover a variety of different genres and academic disciplines.

The films, political manifestos, essays on cultural