Courses in English (Division 361)

PROFESSIONAL SEMESTER

The English Department's Professional Semester is an experimental, integrated, team-taught program, designed for students who are committed to teaching English in the secondary schools or who wish to explore that possibility. Besides counting as one of the three required multi-cultural courses, this program, along with English 305 to be taken concurrently, will normally constitute the students entire course load for one term and will carry 12 hours of credit for the following requirements in the Teaching Certificate Program (students who have already accumulated some of these credits are welcome to negotiate):

English 325-013. Intermediate Composition. (4 credits).

English 489/Education D440-063. Teaching English. (3 credits). (Plus concurrent practicum, Education D592-063, Observation in the Schools, 2 credits).

English 317-002. Senior Seminar. Studies in American Literature. (3 credits).

The Professional Semester is not taught as a collection of courses, but rather as a coherent program with flexible scheduling arrangements and opportunities for large and small group projects and discussions, guest consultants and lecturers, and opportunities for student planning of many segments or aspects of the program. As a hypothetical example, one might focus on the question of audience, taking up criticism on how literature reaches its audience and including poetry, a Shakespeare play, a modern novel, a film, to explore how the different genres affect an audience. In the same unit students might also examine the communications potential of language in a number of contexts and write brief papers addressed to various audiences. Discussion and illustration of different local secondary schools arranged under D592 on a concentrated basis for a portion of the semester.

The Professional Semester can accommodate up to 25 students and meets MWF 11-12, Th 10-12, and MWTh 2-4, with the practicum to be arranged. After discussion, students can arrange to have credit for their numbers if they have had one or more of the courses above and it appears there will not be significant overlap. They may also negotiate to reduce the number of credits (with some adjustments in work load but not in class hours) if they have another required course they must take this same term. Registration requires overrides, available in the English Department Office in 7607 Haven Hall or from the instructors for the program.

Students interested in participating in this program can get more information from last year's instructors, Alan Howes, home phone 662-9895, or Stephen Dunning, office phone 764-9208. They can also put you in touch with students who have participated in the program and who will be happy to tell you what it was like.

WRITING COURSES : After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. At a more advanced level, English 325 offers the opportunity for work in a variety of expository kinds of prose.

As many as ten sections of English 223, the beginning course in creative writing, are available each term. More experienced writers may apply for admission to English 323 (several sections offered each term), English 423 (4 hours), or English 523 (4 hours). Admission to these advanced courses is by permission of the instructor, who will require writing samples.

INDEPENDENT STUDY : Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.

125. Introductory Composition. ECB writing assessment. (4). (Introductory Composition).

Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates in LS&A. During Fall Term, 1982, sections 041 and 066-073 of Introductory Composition 125 are Pilot Program sections. See the Pilot Program section of this Guide, or the Pilot Program office (764-7521).

126. The Reading of Literature. English 125 or 167, or the equivalent. (3). (HU).

In this course we will read a variety of literary works: poems, plays, short stories, novels. We will learn what kinds of things to watch for as we read, and we will practice discussing our reading and writing about it. The course is intended for students with no prior training in the reading of literature. There will be lectures, perhaps one a week; the rest of the time will be spent in discussion. (Ingram)

167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).

Our aim is twofold: to learn to read Shakespeare's plays intelligently and with enjoyment, and to learn how to write perceptively and clearly about them. Our time and attention will be divided more or less equally between the reading and the writing, but the writing will be our main concern. There will be one large meeting each week for a lecture, two small section meetings for discussion, and individual conferences as needed. (Ingram)

Primarily for Freshmen and Sophomores

Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.

223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl).

All sections of 223 teach the writing of fiction (including personal narrative), drama, poetry, techniques of characterization, dialogue, and plot. Different sections will emphasize the individual areas to varying degrees. Classwork involves the discussion of the process of writing and the fiction of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages is required.

225. Expository and Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).

After taking or placing out of English 125 or 167, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. The course will explore ways of making the style and logic of your writing more effective as you explain or argue. The questions of connotative language and slanting, understatement, surprise, selection of evidence, tonal and organizational variation, and logical fallacies will be considered in the context of writing to a specific audience for a specific purpose. Class will probably be run on a discussion-workshop basis, with students meeting often in small groups to share drafts of papers or to examine writing examples from periodicals and/or from a textbook of collected essays.

230. Introduction to Short Story and Novel. (3). (HU).
Section 001.
This will be a course in the appreciation of fiction, with emphasis heavily on the novel. There will be little lecturing, much discussion, the teacher trying to define only areas for discussion: story-line, character, theme or meaning, the personality projected by the author, his world view. There will be daily 10-minute quizzes on the day's assignment, and course grade will rest mainly on them, so that students know where they stand all the time and face no existential moments. Midterm and final will serve only to compensate for weak or missed quizzes. There will be opportunity for those who wish to try imitating our authors in short fictions of their own. Flaubert, Madame Bovary; Dickens, Great Expectations; Dostoevsky, Crime and Punishment; Faulkner, The Sound and the Fury. (Creeth)

Section 003. The purpose of this course will be to enhance your enjoyment of fiction by closely analyzing those elements that contribute to its effects: character development, plot structure, narrative point of view, and imagery. We will read a variety of short stories and novels, mainly from the twentieth century, focusing particularly on the experience of maturation and the struggle to acquire an authentic sense of identity. Our reading list will probably include Austen's Pride and Prejudice, Lawrence's Sons and Lovers, Drabble's Jerusalem the Golden, Morrison's Song of Solomon, and short stories by Chekhov, Joyce, Lawrence, Malamud, Frank O'Connor, Welty, and Ellison. Classes will be mainly discussion, with frequent informal writing assignments. There will be two or three papers, a midterm, and a final exam. This course assumes no previous background in literature, only a willingness to read and think carefully. (Hannay)

Section 004. The principal requirements for this course are curiosity about literature and literary values and a love of reading. The reading comprises a wide range of short stories and novels by such writers as Conrad, James, Camus, Hafza, Mann, Fitzgerald and Orwell. Writing: short papers at the start, followed by two longer papers and a final. (Steinhoff)

Section 006. We will be reading a variety of kinds of fiction and grappling with very diverse perspectives on and ways of shaping the human experience. We will test with each other our individual reactions to form and ideas, thus learning together to read and to talk about our reading with increased sensitivity. We will try to understand what importance and use fiction has, if any, in a difficult world. Besides a selection of short stories and besides some comparisons between narrative method in some stories and short films, we will read such works as Chinua Achebe's A Man of the People, Franz Kafka's The Trial, Toni Morrison's The Bluest Eye, George Orwell's Nineteen Eighty-Four, Ousmane Sembene's Xala, Leslie Marmon Silko's Ceremony, and Elie Wiesel's The Oath. Although there will usually be one hour of lecture a week, emphasis will be on discussion, both large and small group. The nature and timing of papers and exams will be decided together by the class and teacher. There will be opportunities for group projects and creative projects. (Alexander)

Section 009. We will consider the elements of fiction - plot, narrative strategies, first-person and third-person viewpoints, kinds of irony, metaphor, symbol and look at the ways it represents the modern world, especially in its reflections of nihilism and existentialism and problems of belief. We will also consider why we read fiction and what it is worth. After reading some representative modern short stories, we will spend some time with major writers: Hawthorne, Stephan Crane, Kafka, Faulkner, and Margaret Drabble. (Baker)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 002.
We will read widely in English and American poetry, with the aim of learning to read different kinds of poetry well, and with pleasure. We will begin with such basic questions as what poetry is, why people write it, and how to talk about it intelligently, then proceed to consider various poetic forms and a few thematic groupings (for example, love poetry). Although the course will not be organized chronologically, we will range from medieval to modern times, with the predominant emphasis upon the latter. The course will conclude with several weeks on a single poet. The work will include several short interpretive papers and occasional exercises. Primary text: The Norton Anthology of Poetry. (Knott)

Section 003. The course aims at providing an introduction to the reading, understanding, and appreciation of poetry as an art form that is as distinct from other forms of reading as music or literature or painting are distinct from one another. Method will be by class discussion of individual poems, not in order to achieve chronological coverage but to bring out specific aspects of the poetic situation. Besides trying to provide the student with the critical terminology that is appropriate to the study and discussion of poetry, the course will have as its no doubt more important aim the beginning, at least, of an appreciation for poetry: the development of a sense of what it is to respond fully and pleasurably to a poem, and it is to be hoped that students will discover some poems or some poets that they will want to go on reading. Written assignments: short papers analyzing individual poems, sometimes written in class, sometimes outside, and a longer outside paper at the end of the course, on an appropriate subject to be chosen by the student and a final exam. Text: The Norton Anthology of Poetry (full edition, paper cover). (Barrows)

Section 004. Questions of very different kinds can be asked about a poem (What does this word mean? Does line 1 rime with line 4? Why does the poet talk funny?), and what is useful to ask about one poem may offer little help with another. We will try to develop both a versatile repertory of good questions and skill in choosing and answering the ones that will be fruitful with a given poem. The aim will be to experience the poem as it was intended, having refined that experience through close examination of its causes; to "read each work of wit," as Pope puts it, "With the same spirit that its author writ. " The poems will be drawn from the last four centuries and will be of many kinds. We will work primarily through close reading and discussion of particular poems; from time to time we will try to view matters from the poet's perspective by composing short passages of verse of various types. There will be several short papers and exercises, a midterm, and a final exam. (English)

Section 005. Various aspects of poetry-reading will be approached through the study of a large number of the lyric and shorter narrative poems from the time of Shakespeare to the twentieth century, and the course will end with an extensive study of the poems of John Donne. There will be frequent short papers on individual poems, one hour test, and a final examination. This or a comparable course is required of English concentrators. Texts: Altenbernd and Lewis, Introduction to Literature: Poems; John Donne, Poetry and Prose (Modern Library); and C.H. Holman, Handbook to Literature. (Super)

Section 008. This course will concentrate on improving reading of poetry. Written exercises will serve that overall purpose, as will small group recitation and discussion of poetry sessions. The textbook An Introduction to Poetry by X. J. Kennedy will be used as a source of "commonplaces" about reading and study of poetry. The theory and anthology of Kennedy's book will be supplemented by handout materials and topical lecture-discussions. (Wright)

245. Introduction to Drama. (3). (HU).

What is drama in comparison with other forms of literature? What is the relation between dramatic literature and stage production? What is tragedy, comedy, or dramatic realism? Are there modern tragedies? What is mimesis as applied to drama? These are some of the questions we will be considering in this introductory course. Our readings will include Aeschylus' Agamemnon, Sophocles' Antigone, Euripides' Medea, Shakespeare's Othello, Calderon's Life is a Dream, Molière's Misanthrope, Ibsen's Hedda Gabler, Chekhov's Cherry Orchard, Shaw's Major Barbara, Pirandello's Six Characters in Search of an Author, Beckett's Waiting for Godot, Miller's Death of a Salesman. Class will proceed by lecture and discussion. There will be a series of short quizzes, a final essay exam, and 25 pages of critical writing (three five-page papers and one ten-page paper). (Goodhart)

270. Introduction to American Literature. (3). (HU).
Section 001.
This introductory course aims at fostering understanding and appreciation of the variety of entertainment to be found in American literature. We will read examples of poetry, fiction, and drama probably Hawthorne's The Scarlet Letter, Hemingway's In Our Time, Wilder's The Bridge of San Luis Rey, Faulkner's Light in August, Miller's Death of a Salesman, and Frost's poetry. Some three or four short essays (a total of ca. 3,500 words) and a final examination will be required of students. There will be a few introductory lectures, but the conduct of the course will depend principally on class discussion. (Powers)

Section 004. An introduction to American literature, culture, and ideas through the close reading of major works of fiction, with particular emphasis upon the short story form. Novels by Twain, Hemingway, Fitzgerald (or Faulkner), and one current American writer. After positioning lectures to establish themes and directions, the instructor will encourage class participation through discussion. Dual purpose to hold the mirror of American experience, reflected by significant image-makers (writers), up to ourselves; to learn how to use (and enjoy) literature as a tool for interpreting that experience. Midterm, final, and two short papers. (Eby)

Section 005. The purpose of the course is to find out what selected fiction and poetry can tell us about the essentials of existence in this country. Reading items will begin with Hawthorne, Emerson, and Melville. Toward the end of the term strong emphasis will be given a few novels written in modern or near modern times. Poetry will be represented, beginning with Whitman and ending with contemporaries. Individual paperbacks will be used for the works of such authors as Twain, Chopin, West, Faulkner, Malamud, Bellow, and Morrison. For the poetry there will be an individual paperback for Whitman and an anthology of American verse for the poets who follow him. There will be some limited time spent in each class on lecture presentation, but discussion ought to end each period, discussion which first takes the form of interpretation and then somehow attempts to answer the question "What does this piece mean to us today?" There will be several papers. One will consist of critiques of assigned poems. Another will take up the implications of the social criticism in mid-nineteenth century novellas. A third will be an imitation of an incident found in an assigned early twentieth century novel. A fourth will be a discussion of an assigned novel of protest. At some point there will be a journal assignment. There will be a midterm and a final. The final grade will be derived by counting the midterm and the final as a third, the completed written work as two thirds. (Sands)

285. Introduction to Twentieth-Century Literature. (3). (HU).
Section 002.
We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical and moral issues and preoccupations of this century. We will study both what these writers say and how they say it. Our purpose will be to sharpen the insight and intelligence with which we read some of the most probing "documents" of our time. Readings will be taken from: Eliot, Mann, Kafka, Camus, Silone, Beckett, Hochhuth, Kosinski, Durrenmatt, Styron and Weiss. Some lecture; more discussion. Two papers and an essay final. (Bauland)

Section 003. The course will consider how works of certain selected modern writers reflect as well as represent imaginative adjustments to the radical changes that have occurred in 20th Century life and consciousness. Emphasis will be placed on the development of various literary forms, styles, and thematic preoccupations that are characteristic of this age. Texts will include works by Eliot, Joyce, Dostoevskii, Lawrence, Camus, and others. There will be lectures and, if the class is lively, there is certain to be lively discussion. Two fairly short papers and a final are required. (Aldridge)

Primarily for Juniors and Seniors

305(405). Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).

Second only to Mandarin in the number of its speakers, English is the most widely dispersed of the "world languages" spoken today, and among such languages it is the most various in its range of uses and most diverse in the systematic variation that defines its speech communities. English 305 begins with a survey of these uses and variations; we will then explore in more detail the pronunciation of American English, the ways in which words are formed, and the grammatical structures that organize clauses and sentences. Midterm and final examinations will provide an opportunity for students to display knowledge and to draw conclusions from our investigations. Brief papers and exercises will include reports of each student's own observations of English in use. (Bailey)

317. Literature and Culture. (3). (HU). May be repeated for credit.
Section 001 Homicide: Formula, Myth, Fiction.
This course is interested in the ways in which narrative prose deals with provoking social facts. Homicide is certainly such a fact, and this course examines three very different ways in which imaginative writers have treated it. In the first of these, conveniently unreal situations are shaped by certain relatively simple formulae; the most notable instance of this is the murder mystery or detective story. We will be reading murder mysteries by Agatha Christie, Georges Simenon, and Raymond Chandler. In the second, actual crimes are cast into narrative modes that make them more comprehensible, or at least less disturbing, than they would be were they otherwise left unretouched. This phenomenon we see operating every day in the various journalistic media, or in books like Ed Sanders' The Family or Truman Capote's In Cold Blood, both of which we shall read. In the third and most considerable of the narrative modes, the situation of the murderer is explored by novelists who are interested in what it may be made to say of the general human condition. We will conclude the course by reading Dostoevskii's Crime and Punishment, Camus' The Stranger, Faulkner's Light in August, and Mailer's American Dream. The course will proceed mostly by lecture, but strenuous efforts will be made to allow for some discussion. The course is designed to accommodate students from other departments who, though they have no extensive background in literature, have a lively interest in the way that our real and imaginary experiences of socially important phenomena are organized, and to what effect. (Faller)

Section 002. See description of Professional Semester at beginning of English Department listings. (Howes)

318. Literary Types. (3). (HU). May be repeated for credit.
Section 001 Major American Poets, 1950-1980.
Every day we find words to describe our experience, past and present, and we listen to others tell of their experience. Most of what we say, hear, and read is cursory, inexact, uninspired, and ephemeral. The best poets, with their great verbal gift and craft, can give us moving and memorable accounts of experience. As readers of good poems, we can adopt a speaker's point of view, see and feel as he does, take pleasure in his language, and find our sense of life enriched and clarified. In this course we will read the work of six or eight poets selected for their mastery of the art, their distinctive view or sense of life, and their interest as representative voices of our culture. With two or three weeks for each poet, we can proceed in a tentative and exploratory spirit, read enough to get a good grasp of each poet's crucial poems and powers, and hope to make some rewarding discoveries. Among the poets who might be chosen for study are Bishop, Berryman, Stafford, Lowell, Wilbur, Levertov, Ammons, Merrill, Ashberry, Kinnell, Walcott, and Plath. Lectures, discussions, a journal perhaps, papers, exams. (Hill)

Section 002 Novels of Initiation. These seven novels and one connected series of stories focus on the young person moving through crucial experiences on the path from childhood through adolescence toward adulthood. They involve the impact of love and death, the growing awareness of good and evil, and the movement towards the formation of an adult personality. The study of each book will begin with an introductory lecture followed by the use of the discussion method. The work will probably include two hour-length tests, a term paper, and perhaps a shorter paper. We will read Ralph Ellison's Invisible Man, William Faulkner's The Reivers, Ernest Hemingway's The Nick Adams Stories, Harper Lee's To Kill a Mockingbird, Carson McCullers' The Member of the Wedding, J. D. Salinger's The Catcher in the Rye, Betty Smith's A Tree Grows in Brooklyn, and Thomas Wolfe's Look Homeward, Angel. (Blotner)

319. Literature and Social Change. (3). (HU). May be repeated for credit.
Literature and Empire.
"I made him know his Name should be Friday. . . I likewise taught him to say Master, and then let him know that was my name. " (Robinson Crusoe )

This course proposes to explore the political nature and artistic consequences of the following literary pairings: there is Forster's and Kipling's India, and then there is the India of Rao and Battacharya. We have Shakespeare's magical and Greene's voodoo West Indies, and also the Caribbean of George Lamming and Orlando Patterson. Saul Bellow and Conrad have their Africa, and so too do Camara Laye and Ngugi wa Thiong'o. Malcolm Lowry and D. H. Lawrence have their Anglo-American "South of the Border," but then Azuela, Neruda, and Marquez have their own South America. Half-way across the world, Pearl Buck and Malraux have their China, and so do Lu Xun and Lau Shaw. There is the Algeria of Camus and that of Mouloud Mammeri. Race, politics, and aesthetics meet in these literary perceptions of Self and Other. And our combination of lectures, individual reports, and a 10-15 page final project of the student's choice should all help us explore the issues involved. (Johnson)

323, 324. Creative Writing. Junior standing and written permission of instructor. (3 each). (HU). May be elected for credit more than once with permission of the undergraduate chairman.

English 323 is offered Fall Term, 1982.

Section 001. Creative Writing: a course in mixed-media composition, especially combinations of poetry, short drama, short fiction, graphic art, painting, music, dance, photography. Prerequisites: experience with one or more of these art forms and interest in exploring their relations with other forms. (Wright)

Section 002. This course is in fiction writing (the short story). Students will have the option of taking the course as either independent study or workshop. Workshop students will submit their work to the class as a whole, where it will be evaluated by both the instructor and fellow members of the workshop. (All workshop participants will be expected to contribute to classroom discussion.) Independent study students will work independently with the instructor in the form of tutorials. Both workshop and independent students will be required to complete a minimum of four short stories (30-40 manuscript pages). Textbooks: Arthur Mizener, ed. Modern Short Stories; Robert Penn Warren and Albert Erskine, eds. Short Story Masterpieces. Those interested in the course should submit 5-10 pages of fiction and indicate interest in either workshop or tutorial. The class list will be posted the first week of fall semester 1629 Haven Hall. (Jones)

Section 003. This course will concentrate on short fiction, first by reading a great many stories, and then by writing our own. The semester will commence with class discussions of the stories contained in The Norton Anthology of Short Fiction (Norton), edited by R.V. Cassill, and then move into workshop sessions in which we'll consider student manuscripts and will review the craft of story writing as introduced by Damon Knight in Creating Short Fiction (Writer's Digest Books). Two exams and fifty pages of written work will be required. English 223 is recommended to those who have not yet attended a creative writing course. (Hansen)

325. Intermediate Exposition. (4). (HU).
Section 005.
Training in expository (descriptive, explanatory, argumentative) prose. Writing for an audience is emphasized. Weekly papers. Workshop style and atmosphere. No examinations. (Schulze)

Section 013. See description of Professional Semester at beginning of English Department listings. (Howes)

340. Reading and Writing Poetry. Non-concentrators in English, but open to English concentrators by permission. (3). (HU).

Non-majors and majors are invited into English 340. We will divide our time between reading poems (beginning with those in an introductory text such as Western Winds, Nims, or An Introduction to Poetry, Kennedy) and writing poems. For most weeks there will be "an exercise poem" due - e.g. list poems, letter poems, memory poems, dramatic monologues. Toward the end of the course, each student will investigate one poet carefully, will do some imitations of that poet's work, and will prepare a collection of original and copied poems. Outside reading of contemporary writers e.g., William Stafford, Richard Hugo, Maxine Kumin. Writing assignments: weekly exercise poems, three short critical papers, and a collection of work at term-end. (Dunning)

355. Core I (Great English Books). (4). (HU).
Section 002.
In this course we will read some of The Canterbury Tales, from the beginning, and Paradise Lost, from the end of our time span. In between we will read a concentrated selection of short poems and two or three non-Shakespearean plays of the Renaissance. The class work will be largely devoted to discussion of some of the assigned readings. There will be short papers or exercises, one or two hour exams, and a final. The course text will be the first volume of The Norton Anthology of English Literature (4th edition), ed. Abrams et al. (Lenaghan)

Section 004. This section of English 355 will begin with a reading of Sir Gawain and the Green Knight and close with Paradise Lost. We shall read Chaucer, though The Canterbury Tales will receive less attention here than in other sections of the course. Instead we shall spend a good bit of time with Spenser, with Renaissance drama, and with a variety of seventeenth century poets. Daily sessions will be divided between lecture and discussion. Students will be expected to write two or three short papers, prepare in-class reports, keep a journal of their reading, complete a midterm and a final examination, and participate fully in the daily life and work of the class. (Jensen)

Section 006. The course will focus on important literature of the late Middle Ages and the Renaissance. Selections will include narrative, lyric and dramatic works of Chaucer, Marlowe, Shakespeare, Jonson, and Milton. Class procedure will involve some background lectures, discussion, oral reading by both instructor and students, and class performance of a medieval play. Required: three papers, a midterm, and a final examination. Texts: D.R. Howard, ed. Geoffrey Chaucer, The Canterbury Tales, A Selection; S. Barnet et al., eds. The Genius of the Early English Theater; W. Burto, ed. William Shakespeare, The Sonnets; E. LeComte, ed. John Milton, Paradise Lost and other Poems. (Downer)

356. Core II (Great English and American Books). (4). (HU).
Section 001.
We will study a number of works of some of the major writers of English and American literature between ca. 1690 and 1850. The works will be scrutinized individually, but there will be some development of historical and cultural criticism. Writers included are Congreve, Pope, Swift, Johnson, Wordsworth, Keats, Emerson and Melville. Two 5-6 page papers and a final examination. It will be helpful for students to have taken Core I before entering Core II. (Schulze)

Section 002. This course examines the major literary works, authors, and traditions that were most influential in England and America from the end of the seventeenth century to the middle of the nineteenth. We will read selections or complete works by most of the major figures from that period; study various identifiable movements such as Restoration Drama, English Romanticism, and American Transcendentalism; and trace the evolution of several themes and styles that characterize the literature of the period. Much of our time will be spent on close readings of the assigned texts, but throughout the course we will return to several more general questions: What was the importance of literature in different periods? What role does a notion of "history" play in the study of literary texts and traditions? What is the difference between studying literary "movements" and studying literature as the product of a few great minds? What are the relations among a literary text, the individual that produces it, and the society in which the text and its author exist? Classes will combine lectures and discussions. Three eight-page essays and several short quizzes will be required, but no research paper or final exam. (M. Clark)

Section 004. This class will focus on poetry and the novel between 1700 and 1860. Although the material is arranged in a chronological sequence, the course is by no means a thorough survey of English and American literature. Rather, we will read carefully the works of a few major authors. From early eighteenth-century England: Pope's The Rape of the Lock and Fielding's Moll Flanders. Representing the English Romantics: Keats' odes and Brontë's Wuthering Heights. From the "American Renaissance," The Scarlet Letter and poems of Emily Dickinson and possibly of Whitman. Through close textual analyses, we will investigate style, structure, philosophy, genre. On the basis of these observations, we will reflect on how each generation of writers argues with, revises, and constitutes itself in terms of the past. I will spend a good deal of time on the difficulties involved in writing literary criticism. There will be three papers, with revisions, plus frequent shorter assignments. No exams. Discussion. (Ellison)

Section 005. The course is designed to survey British and American literature of the 18th and early 19th centuries to the extent possible within one semester. Readings will include, among others, Defoe's Moll Flanders; Richardson's Pamela; selections from Dryden, Pope, Collins, Blake, and a representative sampling of British Romantic poetry; Mary Shelley's Frankenstein; Poe's Tales; Hawthorne's The Scarlet Letter, and Melville's Moby-Dick. Attention will be given to the historical contexts within which these authors worked, the literary traditions they initiated, extended, and in some cases parodied, as well as the questions their works continue to pose. Classes will largely depend upon discussion, with some introductory lectures. There will be three papers (five to seven pages) and a final exam. (Larson)

357. Core III (Great English and American Books). (4). (HU).
Section 001.
This is the third of three courses required for concentration in English, but it is open to any student who would like to read and discuss some of the best writing, English and American, of the past hundred and fifty years. The course will not be highly schematized; I'd like instead to explore the achievements of certain major writers in such a way as to bring out their individuality of style and outlook. One theme we shall keep in mind is the challenge felt by all these writers to the traditional religious faith and values. As their faith is tested in various ways, what do these writers come to believe in, and how well does it sustain them? We shall look for clues in their works chiefly, notice other themes as well, compare some writers with others, and concern ourselves throughout with their gifts and powers as writers. Readings in ten or a dozen writers, of whom the following may be listed just to suggest the possibilities: Tennyson, Browning, Dickens, Trollope, George Eliot, Arnold, Dickinson, Pater, Hardy, Yeats, Joyce, Lawrence, Eliot, Frost, and Auden. Lectures, discussions, journals, papers, exams, etc. (Hill)

Section 002. This course will attempt to illustrate themes, techniques, and developments in English and American literature since about 1870, concentrating on a relatively small number of authors. Poets studied will be Browning, Tennyson, Arnold, T. S. Eliot, Wallace Stevens, and Auden (peripheral attention also to some of Arnold's and some of Eliot's criticism). A Shaw play will be included. Novels: George Eliot, Middlemarch; Hardy, Jude the Obscure; W.D. Howells, A Hazard of New Fortunes; D. H. Lawrence, Women in Love; Virginia Woolf, To the Lighthouse; Fitzgerald, Tender is the Night. Classes will concentrate on a discussion of the readings, only rarely using lectures, which are always informal and interruptible. Three short papers (on subjects students choose), a midterm, and a final examination. (Gindin)

Section 004. A survey of Modern English and American literature through the study of selected works by Yeats, Eliot, O'Neill, Fitzgerald, Conrad, Waugh, and Arnell. Short papers at the beginning of the course, followed by two 1500-2000 word papers and a final. (Steinhoff)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001.
We will study eleven plays by Shakespeare: Romeo and Juliet, The Merchant of Venice, Richard II, 1 Henry IV, Twelfth Night, Hamlet, Othello, Measure for Measure, King Lear, Macbeth, The Tempest. We will treat matters of both theme and form, and we will consider the plays as dramatic literature, theatrical art, and manifestations of their historical, philosophical and social milieu. The size of the class will probably dictate how much of our time is devoted to lecture, and how much to discussion. Though of their own time and place, Shakespeare's plays also have a life outside those confines. Without neglecting the central Elizabethan elements of Shakespeare's work, we will not perform autopsies on 380 year-old dramatic corpses. Two papers; midterm exam; final exam. (Bauland)

Section 002. This course will consider a small number of Shakespeare's plays, no fewer than six, perhaps as many as eight. The selection will be representative of the different kinds of plays Shakespeare wrote, and the plays selected will be popular. Mode of teaching will be lecture/discussion, with discussion encouraged. I will give a midterm and a final, also spot quotation quizzes. I will probably require two short critical papers. For text, I will use a cheap paperback. There are no prerequisites to this course, but some background in Shakespeare and more generally in literature is recommended. A strong commitment to the material is of the essence, for your grades and for your pleasure too. I see this course as entailing a lot of effort and being worth the effort. (Fraser)

391. Honors Survey: Chaucer to Milton. (3). (Excl).

These courses, the first two in the English Honors sequence, focus sharply on a series of major works from the Middle Ages to the 17th century. The purposes of the course are three-fold: to encourage, through discussion, a significant understanding of the meaning of the works we study; to enhance the students' ability to interpret literature; and to explore the relationships between the literary texts and their cultural contexts. The authors and works studied this term will include Beowulf, Malory, Chaucer, Sir Gawain and the Green Knight, Sidney, Spenser, Jonson, selected Elizabethan and Jacobean dramas, Donne, Herbert, Marvell, and Milton. Requirements: several essays, one or two hour exams, and a final examination. (Garbaty)

392. Honors Survey: Chaucer to Milton. (3). (Excl).

See English 391. (English)

411. Art of the Film. (3). (HU). May be repeated for credit.
Vietnam and the Artist.
A study of efforts by artists, primarily filmmakers, to understand and, in some cases, to prevent recurrence of such events as the war in Vietnam. Films will include: In the Year of the Pig, Hearts and Minds, Far from Vietnam, Coming Home, The Deerhunter, Apocalypse Now, Breaker Morant, Jonah Who Will be 25 in the Year 2000, The Passion of Anna, and films made by the South Vietnamese National Liberation Front. Writers will include Denise Levertov, Jonathan Kozol, David Rabe, C. D. B. Bryan, and Susan George. Much emphasis will be placed on discussion, both large and small group, and discussion and lecture will focus not only on the works, but on their implications about personal attitudes and social institutions. Final projects may be studies of individual artists, may be studies of large problems raised in the course, or may be relevant works of art or other forms of direct statement and communication about Vietnam and related issues. (Alexander)

417. Senior Seminar. Only open to senior concentrators in English. (3). (Excl).
Section 002 Reading Beckett.
This seminar is concerned with the special problems of understanding Beckett's highly complex and individual dramatic and fictional worlds. The emphasis will be on the variety of approaches major critics have used to comment on Beckett's work: historical, psychological, phenomenological, structuralist, new critical, and semiotic. We will also consider the far more practical aspects of his work in the concrete and tangible realm of drama as a performing art. There will be several short writing assignments and a final seminar paper. (Brater)

Section 003. One mark of an ambitious writer whether it be Sidney, Wordsworth, or T. S. Eliot is that he seeks to set the critical standard by which future generations will read his works. This is strikingly true of American writers in the 19th century, who can at times seem to be as much the theoreticians of their craft as the creators of it. The aim of this course will be to read, so far as it is possible, 19th century American literature from the point of view of the theoretical aspirations that animate and sustain it. In doing so, we shall explore the problematic interaction between generating theoretical models for works of literature and implementing those models in the works themselves. Is "Song of Myself," for example, a fulfillment of Whitman's critical manifestoes or can it be seen in some ways to be a betrayal of them? Why do American writers consistently display a simultaneous fascination with questions of literary theory and a profound distrust of them? In addition to Whitman, we will consider Emerson (the Essays ); Thoreau (A Week on the Concord and Merrimack); Poe (Tales and criticism); Hawthorne (The Scarlet Letter and Blithedale Romance ); Melville (White-Jacket and Confidence Man); and Henry James (Portrait of a Lady and Wings of the Dove). Current methodological issues in literary criticism will also be investigated, though expertise in this area is neither required nor expected. Two short papers and a longer critical essay at the end of the term. (Larson)

Section 005 Facts and Fictions. An exploration of the borderline between works that purport to be factual and others, deliberately fictional, that incorporate factual materials. We will consider why such works are prevalent in the contemporary literary scene; learn how to interpret them; and try to discover what they mean both in terms of the nature of narrative and in terms of historical change in that nature. Primary works will include examples from journalism, such as Mailer's The Executioner's Song; works incorporating historical fact with fiction, such as Doctorow's Ragtime; and works that attempt to create a legendary past that might take the place of history, such as Hong Kingston's China Men. We will read antecedents to these contemporary works and make brief sidetrips into poetry and drama to locate similar phenomena. Secondary works will offer readings in critical, narrative, and social theory. There will be frequent short writing assignments leading to three longer papers. (Robinson)

Section 006 The Tradition of Ulysses. Ulysses creates its own tradition to a far greater degree, and more self-consciously, than most literary texts. It incorporates, yet radically transforms, the received canon of literature and asserts its preeminence as a model for other writers to acknowledge or imitate. In this course, we will study the way a text reorients our whole sense of literary history. Beginning with a close re-reading of Ulysses (this course will assume at least one prior reading), we will discuss how Joyce's experiments with style and his use of mythical correspondences remake the past. We will then examine some of Joyce's principal sources, asking how and why Joyce transforms them: Homer's Odyssey, Shakespeare's Hamlet, Flaubert's Madame Bovary, and possibly Goethe's Faust or a play by Ibsen. Next we will look at the converse question, how subsequent writers assimilated Joyce's experiments into their own works: Woolf's Mrs. Dalloway, Faulkner's The Sound and the Fury, Beckett's Murphey, and possibly Salman Rushdie's Grimus. Short, informal writing exercises will serve as preparatory sketches for three five-to-ten page papers. (Hannay)

Section 007 The Romantic Ode and Theories of the Sublime. This course will be a tour of the high points of English and American poetry, a study of the "sublime" (meaning "high, lofty, elevated") ode. The ode is important because, more forcefully than any other poetic mode, it questions the idea that poems should be unified wholes. As the quintessentially Romantic form, it was interpreted as the trace of the imagination's conflicts. The first part of the course will be devoted to an introductory survey of the ode from Milton to Collins. This will be followed by close readings of the central texts by Wordsworth, Coleridge, Shelley, and Keats. The course will conclude with a look at later variants by Whitman, Yeats, and Stevens. Interspersed with the poetry will be readings from a course pack on Romantic theories of the sublime, taken from prose works by Burke, Kant, DeQuincy, Emerson, and others. Writing is important in this course. Students will keep a journal on the reading, will write and revise one shorter paper (three to five pages), and will develop, with guidance and revision, one term paper (fifteen pp). Discussion. (Ellison)

Section 008 Tragedy, Philosophy and the Death of God. Neitzsche's famous pronouncement in the Gay Science on the "death of God" pulls the rug out from under a certain tradition of humanistic Platonic thinking. My course this semester will study some of the ways in which Greek tragedy (and to various degrees later English, American, and European drama) already confronts in full the problem of nihilism and how the succeeding tradition of philosophic and literary critical thinking (as it emanates from Plato and Aristotle) has worked systematically to subvert and displace this tragic encounter. We will read Aeschylus' Agamemnon, Sophocles' Oedipus Tyrannus and Antigone, Euripides' Medea and The Bacchae, Shakespeare's Hamlet, Beckett's Waiting for Godot, and Arthur Miller's Death of a Salesman. We will also read selections from Plato Aristotle, Hegel, Nietzsche, Freud, Heidegger and some of the more recent theorists Foucault, Derrida, Girard, and others. Class will proceed by lecture and discussion. There will be one long paper and a series of quizzes. (Goodhart)

429. The Writing of Poetry. Written permission of instructor is required. (3). (HU).

This course is for those who are serious about writing poetry. It meets once a week in the evening for three hours. A third of our time will be devoted to exercises, which will include reading aloud, writing from memory, improvisation and outside assignments. Two hours of every class will be devoted to reading student poems. Attendance is required at all class meetings. Absence will affect grade. Students meet with instructor at regular intervals for individual discussion of their poetry. Admission by permission. Until April 17, 1982 push an envelope with 8-12 poems under the door of 2635 Haven Hall. I will return it with notice of acceptance or rejection in box outside 2635 within one week. After April 17 hold submission until start of Fall Term. I will post a list of those admitted before first class meeting. (W. Clark)

432. The American Novel. (3). (HU).

The course will include a representative selection of novels which illustrate the richness and variety of the genre as well as pervasive themes and attitudes which characterize that fiction: Hawthorne, The House of the Seven Gables, Twain, The Adventures of Tom Sawyer, and Adventures of Huckleberry Finn, James, The Portrait of a Lady, Chopin, The Awakening, Hemingway, In Our Time, Faulkner, The Sound and the Fury and Absalom, Absalom!, O'Connor, Wise Blood, Baldwin, Another Country, Laurence, The Diviners. The course will depend on a few introductory lectures and regular class discussion. Two or three short exercises and a term papers of ca. 3,000 words will be required. There may be a final examination. (Powers)

433. The Modern Novel. (3). (HU).

The course will be devoted to the study of the chief characteristics and assumptions of the classic modernist movement in literature. A few basic works of psychology and philosophy such as Neitzsche's The Birth of Tragedy will be assigned along with Eliot's The Waste Land and major modern novels. The aim of the course will be to offer a background for understanding the various responses literature has made to the complex and often bewildering experiences of the 20th Century. Works by Freud, Joyce, Conrad, Mann, Kafka, Faulkner, Beckett, and others will be studied and discussed. Two papers and a final exam are required. (Aldridge)

440. Modern Poetry. (3). (HU).
Six Modernist Poets.
The course will approach the development of Modern Poetry, in Britain and America from the 1890's to World War II, not by trying to include all the poets who wrote during this time but by more detailed attention to the work of six or seven of the most important figures: Hardy, Yeats, Eliot, W. C. Williams, Frost, Stevens, Hart Crane, and W.H. Auden. (Selection of six or seven of these eight poets will ultimately have to depend on the availability of suitable and affordable paperback selections.) Written work: one or two in-class blue books, a short outside paper, a longer one towards the end of the term, and a final exam. Discussion method, with occasional lecture. Some experience of reading poetry, whether in a course or independently, is desirable. (Barrows)

447. Modern Drama. (3). (HU).

This is a lecture-discussion course devoted to the origins and energies of modern drama from Ibsen to World War I, with special emphasis on the plays of Ibsen, Strindberg, Chekhov and Shaw. Emphasis will be placed on the creative aspects of the texts in performance and how such texts differ from studying fiction, poetry, and film. The course will address itself to the question of dramatic form and technique in terms of the evolution of twentieth century theatrical conventions. No special background in drama or theater is necessary. Students will be required to write three papers. Other playwrights to be considered include Wilde, Jarry, and Kaiser. (Brater)

462. Victorian Literature. (3). (HU).

Many of the familiar problems of modern America had their roots in Victorian England, and the course will aim at studying them through nineteenth century fiction (Dickens, Trollope), prose argument (Carlyle, John Stuart Mill, Matthew Arnold, Newman, T.H. Huxley) and poetry (Tennyson, Arnold). The latter part of the course will be devoted to the later Victorian poets, culminating in the works of W. B. Yeats. (Super)

465. Chaucer: The Canterbury Tales. (3). (HU).

Extensive reading of Chaucer's Canterbury Tales is combined with lectures on Chaucer's life, sources and analogues of the tales, courtly love, past Chaucerians and their work, problems of interpretations, and aspects of the manuscript tradition. Everything is read in Middle English and discussed in class. Several short papers and a longer paper for graduate students will be required. The course is an introduction to Chaucer by way of the Tales, but an introduction to Chaucer is an introduction to life, medieval and modern, so that this course is only the beginning of a process of learning. F. N. Robinson's The Works of Chaucer, 2d edition, is the necessary text. (Garbaty)

473. Topics in American Literature. (3). (HU). May be repeated for credit.
Three Modern Poets: Pound, Eliot, Stevens.
An examination of what three major writers Ezra Pound, T. S. Eliot, and Wallace Stevens have to teach us about the connections between art, society, and individual experience. We will consider their work both in itself and as a response to personal, political, and literary problems. Readings are primarily poetry, with some critical prose by the poets themselves. Lectures and discussion; English 240 helpful as background; two papers and a final examination. (Bornstein)

478/CAAS 476. Contemporary Afroamerican Literature. (3). (HU).

See Afroamerican and African Studies 476. (Jones)

482. Studies in Individual Authors. (3). (HU). May be repeated for credit.
Section 001 Faulkner.
We will read novels spanning Faulkner's career, exploring his themes and analyzing the way his techniques develop and change according to the demands of the subject matter. As he ranges from problems of identity and family dynamics to racial relations and corruption in society, we will see how Faulkner employs violence and humor, poetry and rhetoric, straight narrative and interior monologue to achieve his effects. Lectures will provide relevant background material on Faulkner's South, his life, and his career. After the introductory work on each novel, we will proceed by discussion as much as possible. There will probably be two hour-length tests, a term paper, and perhaps an additional short paper. We will read Light in August, As I Lay Dying, Sanctuary, The Sound and the Fury, Absalom, Absalom!, Go Down, Moses, and The Reivers. (Blotner)

Section 002 Dickens. With the words of Wilkins Micawber in mind that we read "with delight, with entertainment, with instruction" we will undertake a study of six of Charles Dickens' novels: Oliver Twist, David Copperfield, Bleak House, Great Expectations, Our Mutual Friend, and The Mystery of Edwin Drood. That means some 4,000 pages we have to read, using Penguin editions. We will also have a great deal of serious thinking to do, both directly and immediately with the individual novels and with larger and more general themes such as the relationship between idealism and realism, the idea of the artist as a social critic, the creation or conversion of the self, alienation and reintegration in a "mad world," the meaning and value of happiness, and the function of the imagination. Students are required to write papers on each novel; we also write "scribbles" seriously at the end of each class. Everyone should have Oliver Twist read by the beginning of the term. (Hornback)

483. Great Works of Literature. (1). (HU). May be repeated for credit if different works are studied.
George Orwell and 1984.
Orwell's 1984, a novel written in 1949, is a work of imaginative fiction that invites comparison with other fictions; but it is also a work that deals with the political issues of totalitarianism and freedom, with the social gulf that separates the powerless and the powerful, and with the manipulation of people through control of their language and their thoughts. From Orwell, we have drawn the image of "Big Brother" and a disquieting sense that there is something special (and frightening) about the year 1984 itself. Through once-weekly class meetings, we will discuss the novel and its relation to other novels and investigate the origins of Orwell's predictions and the extent to which they have (or are likely to) come true. Persons with special interests in psychology, history, sociology, linguistics, and political science are especially invited to elect this one-credit course. (Bailey)

489/Educ. D 440 (School of Education). Teaching of English. Engl. 305 is prerequisite, and concurrent election of Educ. D 592 is required. (3). (HU).
Section 001.
See description of Professional Semester at beginning of English Department listings. (Howes)

Section 063. This jointly-listed course is the required methods course for English majors who seek certification. The course tries to provide practical, school-related pedagogy within the subjects of English literature, writing, and language. Special topics include diagnosis and materials for reading instruction; junior literature; outside reading; marking/grading student writing; dialects; and ways to motivate writing. But the central concerns are approaching reading-of-literature, writing, and literacy tasks with understanding and effectiveness. (Dunning)

493. Honors Survey: English Nineteenth-Century Poetry. Admission to the English Honors Program. (3). (Excl).

We will study three successive generations of the major 19th century poets first Coleridge and Wordsworth; then Keats, Shelley, and Byron; and finally Browning, Tennyson, and Arnold. We will read widely in the major poetry and related prose of those writers but focus on a smaller number of works. Students should emerge both with a deepened appreciation of individual poems and authors, and with a sense of the development of 19th century poetry and of the nature of poetic influence. Primarily for seniors in the Honors program; one short essay or midterm, a longer essay, and a final exam. Texts will be David Perkins' English Romantic Writers and Buckley/Woods' Poetry of the Victorian Period. (Bornstein)

494. Honors Survey: Practical Criticism. Admission to the English Honors Program. (3). (Excl).

This course will be primarily a survey of standard theoretical approaches to literature, drawing on both primary interdisciplinary texts and exemplary critical essays that have profited from them. We will center our study of these approaches on a core group of nineteenth-century novels, most likely: Frankenstein, A Tale of Two Cities, Middlemarch, Tess of the d'Urbervilles, and Lord Jim. Students will have an opportunity to explore with some depth a method of their choice, as well as broadening their general critical background. Two papers and a final. (Kucich)


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