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 D309-063, Observation in the Schools, 2 credits).

English 417-013. 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 D309 on a concentrated basis for a portion of the term.

The Professional Semester can accommodate up to 25 students and meets MW 11-12, Th 10-12, and MWTh 2-4, with the practicum to be arranged. After discussion, students can arrange to have credit for other 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 previous years' 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. In Fall 1983 there may also be one section of English 425.

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. Students can expect to write six or more formal papers, as well as numerous informal exercises or impromptu essays. Sections 066 through 073 are Pilot Program sections. (See Pilot Program section of this Guide for more information about those sections.)

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

Like English 125, this course satisfies the College English Composition requirement. Accordingly, the major work of the course and the entire basis of evaluation will be student writing: at least two in-class essays, five or six "overnight" exercises or short papers, and six or seven bi-weekly essays. Topics will be chosen from the reading and discussion of six of Shakespeare's plays: Romeo and Juliet, I Henry IV, Twelfth Night, Hamlet, King Lear, The Tempest. In general lectures will concern the plays, classes and conference, the students' own writing. (Schulze)

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.

Section 001 Poetry, Fiction and Drama. Closed to early registration.

Section 002 Poetry, Fiction and Drama.

Section 003 Fiction.

Section 004 Poetry. Closed to early registration.

Section 005 Poetry.

Section 006 Poetry and Fiction. Each student will be asked to write a full-length short story and fifty or sixty lines of poetry in traditional forms and will then be encouraged to specialize either in fiction or verse for the rest of the term. A specialization in poetry will be allowed only if the instructor is convinced you have talent. A thousand words per week of fiction, twenty-five lines of verse is the minimum quantity. No text, no exams. A largely unstructured course: if you need the support of regular assignments, exercises, etc., choose another section. You must come up with the ideas. The instructor will not play Muse. (Creeth)

Section 007 Fiction.

Section 008 Poetry, Fiction and Drama.

Section 009 Poetry, Fiction and Drama.

Sections 010-013. Closed to early registration.

225. 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 course will examine story-telling in a progression from simple plots to complex narrative structures. It will be divided into roughly four units. The first will examine narrative sequence by looking at fairy tales and short romances, including Daphnis and Chloe and Sir Gawain and the Green Knight. The second unit will take the detective story as paradigmatic of the plot of recognition, as exemplified by Freud's Dora, Henry James' "Beast in the Jungle," and Joseph Conrad's Heart of Darkness. In the third section we will look at forms of autobiography or the telling of life stories, in such works as Mary Shelley's Frankenstein, Dickens' David Copperfield and Maxine Hong Kingston's The Woman Warrior. The course will conclude with Virginia Woolf's To the Lighthouse and Christa Wolf's The Quest for Christa T. by examining questions of time and memory in the modern novel. Each unit will be structured through the use of myths and/or critical essays. There will be two essays and a final exam. (Herrmann)

Section 003. Readings will include approximately a dozen short stories, and the following longer works: John Fowles, The French Lieutenant's Woman; Charles Dickens, Great Expectations; D.H. Lawrence, Sons and Lovers; Emily Brontë, Wuthering Heights; William Faulkner, The Sound and the Fury; Franz Kafka, Metamorphosis; and Leslie Marmon Silko, Ceremony. Students will write weekly "journal" comments on their reading, a short paper (ca. 1000 words) before the midterm, and a longer paper (2000-2500 words) on a topic of their choice due at term's end. There will be no exams, but there may be occasional quizzes on the reading, if they prove necessary. This course will be interested more in how these texts mean, than in what they mean, though of course their meanings (and they have many) are important. "Good readers," said Nabokov, "read books not for the infantile purpose of identifying with the characters, and not for the adolescent purpose of learning to live, and not for the academic purpose of indulging in generalizations, but for the sake of their form, their visions, their art." (Faller)

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 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, and Leslie Marmon Silko's Ceremony. 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 the teacher. There will be opportunities for group projects and creative projects. (Alexander)

Section 007. Prose narratives of varying lengths, and other kinds of imaginative prose as well which we will read for pleasure, discuss for understanding, and write about for clarification. This is an introductory course: no previous experience with literature is necessary, but a readiness to read, write, and talk is presumed. (Ingram)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001.
An introductory course in the close reading of literary texts, English 240 is prerequisite to concentration in English. Proceeding by discussion, we plan to invite familiarity with the major modes of English verse through the reading of a large number of poems as well as through the close study of a selected few. Toward the close of the course we will study the work of one of the major poets in English, either W.B. Yeats or Emily Dickinson. There will be some written exercises, three or four papers, one final exam. (McNamara)

Section 002. This course is for anyone who wants to learn to read poetry with understanding and enjoyment. It serves as prerequisite for those planning to concentrate in English. We will read widely in lyric poetry, English and American, from the Renaissance to the present. One of the aims of the course will be to help students to develop the critical skills necessary to read any kind of poetry well, another to encourage some awareness of how poetry written in English has evolved and of how poetic aims and possibilities have varied in different historical periods. We will look at how some basic poetic forms (ballad, sonnet, ode) have been adapted to serve different purposes. Toward the end of the term we will study the work of one poet in some depth. The work of the course will include several short papers, exercises, and a final examination. The basic text will be The Norton Anthology of Poetry. (Knott)

Section 003. This course will focus both on the tradition of English poetry and on the skills required to read poems intelligently and with pleasure. We will thus discuss the rudiments of poetic terminology (genre, metrics) and some of the major themes in Western poetry (love, death, God, and the good life). We will pay a good deal of attention to the historical evolution of poetic forms and glance at the Classical and Medieval background to modern (post-1500) poetry. Requirements: some memorization, three short papers, and two take-home exams. (Shuger)

Section 004. My course this term will be a reading of a wide selection of poems from the Anglo-American tradition in an effort to introduce the techniques of close critical reading of literary texts. We will consider such topics as the intention of the author, the role of the reader, the use by the writer of literary devices such as metaphor and symbolism. But always our goal will be to understand the ways in which meaning is generated, how literary or poetic language works. There will be a final exam (which will consist in part of an in-class explication) and students should expect to write during the term 25 pages of critical writing in the form of several short explications of poetry. Classes will proceed by lecture and discussion and as often as is feasible poems will be read aloud in class. (Goodhart)

Section 005. This is a course in how to read (mainly) lyric poetry, short poems that express a state of mind or feeling, a course in what to look for, notice, and appreciate. We'll take up the usual and necessary topics meter, sound effects, metaphor, symbol, simile, allusion and so forth. A perhaps distinctive feature of this section will be some attention given to the characteristics of poetry written in different periods: Renaissance, Augustan, Romantic, Victorian, Modern. Focus at the end on the work of one modern poet, probably Wallace Stevens. Grade mainly dependent on daily quizzes that, often, will also launch class discussions. A midterm exam, paper on the modern poet, and final exam will offer an opportunity to raise the standing established by quizzes. Text: The Norton Anthology of English Poetry. (Creeth)

Section 006. The purpose of this course is to investigate the numerous ways that each poem and all poems achieve distinctive effects. Structure, rhythm, syntax, diction, thematic content, as well as relation to a nourishing tradition or poems of the same kind these are elements we shall study as we proceed through an anthology of English and American poems. Extended attention will be given to a single poet or volume of poems. We shall use Paul Fussell's Poetic Meter and Poetic Form as an additional guide. This is a discussion class, and depends upon rigorous daily preparation by each student for its vitality. Several short papers and one long paper will provide opportunities for practical criticism. There will be a midterm and final exam. (Goldstein)

Section 008. The aim here will be to enhance students' enjoyment of poetry through an understanding of its nature and how it achieves its particular effects. What is poetic language, for example? What is the function of meter how does it interplay with the natural rhythms of speech? What is the nature and meaning of metaphor and of other kinds of figurative language? How does a poem mean one thing by saying another (irony)? The emphasis will be on informed, close reading of poetry from different perspectives of English and American literature. To encourage the feeling for the nature of oral poetry, students will occasionally be asked to learn poems and to say them aloud. Several short papers and one long paper will be required, as well as a midterm and a final exam. Textbooks: Introduction to Poetry (4th edition) Kennedy; Poems, 1965-1975 Seamus Heaney. (Tillinghast)

Section 009. This will be an introduction to the pleasures and techniques of reading literature in general and poetry in particular. We will read a great variety of poems, mostly from a large anthology, such as The Norton Anthology of Poetry; though we will also use an anthology of very recent poetry and/or one or two volumes by individual poets. Our goal will be to familiarize ourselves with a broad range of critical methods and concepts so that we can adapt our tastes and intelligence to widely differing poems, and leave the course both ready and eager to keep reading poetry. Prerequisites: enthusiasm, and a mind open to the artful intensity of language, whether that language be found in today's rock lyric or in the at first strange and difficult words of a poem four hundred years old. Requirements: attendance, regular and thoughtful reading of assignments, discussion, three or four short papers, and a number of brief exercises. (Parker)

Section 010. This is a course in the close reading of poetry; its aim is to equip the student with the skills needed to read poems with insight and enjoyment and with a basic knowledge of the tradition of poetry in English. We will attend carefully both to such matters as rhyme, rhythm, syntax, imagery and structure and to the import and emotional impact of the poems. Our readings will be drawn from poetry in English from the 16th century to the present; we will spend some time talking about poetry by women and its relation to the canon and examining the alternative tradition of Native American poetry. The last weeks of the term will be devoted to an exploration of the idea of "political" poetry, including an intensive reading of at least one contemporary poet (probably Adrienne Rich). This class is a prerequisite for the English concentration, but is open to all no previous knowledge is assumed. There will be frequent brief papers and a final exam; everyone will be expected to discuss and write actively. Text: The Norton Anthology of Poetry, revised edition. (Howard)

Section 011. English 240 is an Introduction to Poetry in English. I confine it pretty much to the short poem, and I don't base it in any deliberate way on particular "topics" or "themes." My method is to teach from the open book, and to elicit a maximum of class participation. No special background is needed, though obviously any student taking the course ought to be interested in poetry and want to learn more about it. The course is part of a departmental sequence, and in fact is a prerequisite for majoring in English. This doesn't mean to me that non-English majors are not welcome. Evaluation turns on a midterm, a final, probably two short papers (all of these being essay in kind), and my sense of the student's performance in class. Generally I use the Norton Anthology of Poetry, and sometimes I supplement this with Oscar Williams' Little Treasury of Modern Poetry. (Fraser)

Section 012. The focus of this course will be on close reading of a variety of poems from The Norton Anthology of Poetry to develop greater comprehension through discussion of technical elements, structural presentation of experiences and ideas, and historical settings. The many ways to read and enjoy this genre will be encouraged; students will be expected to read aloud, participate in individual or group presentations of analyses. Brief written analyses to be done in class and a longer paper are required. (DePree)

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

A course surveying the major achievements of world drama from Ancient Greece through the modern period. Dramatists will include Sophocles, Marlowe, Shakespeare, Jonson, Molière, Sheridan, Wilde, Ibsen, Chekhov, Shaw, O'Neill, and Beckett, and we will focus our study on a single play each week. Although we will spend little time on the technical aspects of production, the course will explore drama as a literary form designed for the stage, different in its possibilities and achievements from poetry and fictional form such as the novel and short story. Lectures will provide historical, biographical, and theatrical backgrounds when appropriate, and we will frequently open class to discussion. Participation in the course will include two papers, a midterm and final exam. (Garner)

270. Introduction to American Literature. (3). (HU).
Section 002.
This course will deal with the emergence of an American literature. Attention will be centered on the various social and cultural forces that made for a national literature. We shall read, discuss, and write about works of Hawthorne, Poe, Whitman, Dickinson, Frost, Hemingway, and a few others. There will be two critical papers, a midterm, and a final. (Downer)

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. Much American writing is about Nature, as something directly experienced or as a philosophical formulation, or both. This common concern is the theme that links the texts in the course. The particular writers are Twain, Thoreau, Melville, James, and several poets. Because the course is also an introduction to literature, there will be a certain amount of attention to practical questions of how to read fiction and poetry. There will be two hour exams, a final, and a paper, with additional short exercises to focus the reading. (Lenaghan)

Section 006. We will read a number of works by four American writers, Emerson, Hemingway, Frost and O'Neill. The course will attempt to broaden the student's human experience through the medium of imaginative writing in four literary genres: expository essay, prose fiction, poetry and drama. Throughout all the study during the term, it will be an important overall objective for the student to formulate and justify his/her own judgments about these works and their impact on his/her life. Class attendance is essential as class discussion of the reading is the principal vehicle for exploring the literature. Each student will keep a Journal, regularly writing in it, to encourage ideas, judgments and questions. Two essays will be written outside of class; and an essay-type final examination covering all of the material read in the course will conclude the term. (Heydon)

Section 007. We will study authors and traditions of American Literature from the mid-nineteenth century to the present, beginning with Hawthorne, Whitman, and Dickinson. Written work will include journals, short reports, and a longer paper. (Wright)

285. Introduction to Twentieth-Century Literature. (3). (HU).
Section 001.
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 place equal emphasis on what these writers say and how they say it. Our purpose is to sharpen the insight and intelligence with which we read the probing "documents" of our time. Readings: Joyce's Portrait of the Artist as a Young Man, Kafka's The Trial, Camus' The Plague, Beckett's Waiting for Godot, Durrenmatt's The Visit, Grass' The Tin Drum, Baraka's (Jones') Dutchman, Roth's Portnoy's Complaint and a selection of modern poems. Some lecture; some discussion. Two papers and an essay final. (Bauland)

Section 002. We will read a selection of twentieth-century works, mostly fiction but also some poetry and/or drama, first from a group of modern writers who produced their major works between the world wars and set a standard for the century, and then from a group of near contemporary and contemporary writers, who continue or revise what the moderns began. We will give close attention to the particular texts, and also consider those texts more broadly as products and makers of a specifically twentieth-century culture. Texts will probably include works by such writers as Kafka, Woolf, Faulkner, Pirandello, Fowles, Barth, Pynchon, and several others. Requirements: attendance, discussion (the ratio of discussion to lecture will be determined by class size), two or three short papers, a final and possibly a midterm. (Parker)

Primarily for Juniors and Seniors

301. The Power of Words. (4). (HU).

If language is a game, this course will explore such questions as how the game is put together, who writes the rules, who the players are, and the ways in which the game is "rigged." We all know that our language provides us with a ready-made system through which we define our world, ourselves and our place in the world. Does it work equally well for all of us male/female, Black/white, young/old? What are we to make of such facts as these: "Husband" and "hussy" (the shortened form of "housewife") both were once completely neutral terms as were "knave," a young boy/servant; "clown," a rural person; "villain," a lowly-born person. "Shrew," "harlot," and "brothel" first referred to malicious, base, and worthless men, and "frump," "witch," and "bawd" could originally refer both to men and to women. Some synonyms for white include "pure, spotless, unblemished;" on the other hand, synonyms for black are "dark, sinister, sullied." Is the kind of power words exert over us "awesome, I mean, for sure totally tubular" or "grody to the max?" Class format will be lecture/discussion. There will be frequent short written assignments (1-2 pages), three or four longer papers, essay midterm and final. This class fulfills the LS&A junior-senior writing requirement. (Toon)

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 Truman Capote's In Cold Blood and Norman Mailer's The Executioner's Song, 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 Dostoevsky's Crime and Punishment, Camus' The Stranger, and Faulkner's Light in August. 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 003 Language of the Law. Doctor, lawyer, merchant, professor - they have the English language in common with the rest of us. But members of each occupational group use the English language in specialized, uncommon ways. Their specialized English becomes Greek to all but them. What lawyers say and write is "all they do." What they do is of immense consequence to all of us; yet the language of their doings is unintelligible to most of us. The course is intended for undergraduate ordinary citizens with no special expertise in legal, linguistic, or literary study. Its purpose is not to equip students for either law school or a day in any peoples' court. There will be some reading of fiction (including Dickens' Bleak House), extensive reading of legal documents (including transcribed courtroom talk), and the viewing of video-taped litigation. In working on these materials, we will consider how legal uses of language relate to lawyers' purposes. And we will consider how those uses and purposes relate to one's own idea of a just society. There will be lectures most by the instructor, some by invited guests; classtime analysis of documents and video-tapes (and discussion of issues implicit in them); short written exercises, a course paper, and a final exam. (Van't Hul)

318. Literary Types. (3). (HU). May be repeated for credit.
Section 001 The Jewish American Novel.
A course in modern Jewish-American fiction which will include some (though not all) of the following writers: Bellow, Malamud, Roth, Mailer, Gold, Singer. Professor Norich is presently in Israel and will provide details of the course upon her arrival here in September. (Norich)

Section 002 Novels of Initiation. These seven novels and one series of connected stories focus on different stages as the young person moves 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 toward the formation of the 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 tests, a term paper, and a final examination. We will probably read Twain's Adventures of Huckleberry Finn, Faulkner's The Reivers, Hemingway's The Nick Adams Stories, Lee's To Kill a Mockingbird, Smith's A Tree Grows in Brooklyn, Plath's The Bell Jar, Salinger's The Catcher in the Rye, and Knowles' A Separate Peace. Primarily for juniors and seniors. (Blotner)

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, 1983.

For Early Registration (sections 001 and 002), submit copies of creative writing you have written (plus name, phone, campus address) to the Undergraduate English Secretary in 7607 Haven Hall by Friday, April 8, 1983. Overrides for those students admitted will be available on Wednesday, April 13, 1983.

For Regular Registration (sections 001 and 002), students must submit sample to instructor before first class meeting. Include name, phone, and address. Instructor will admit up to class limit and notify students admitted.

Section 001. An intermediate course in theory and practice of contemporary prose fiction. The course will include regular workshops with discussion of student manuscripts plus additional outside readings. (Garrett)

Section 002 Short Story Writing. This is a course in writing the short story. A minimum of four short stories will be required. During the first half of the term the class will meet to discuss short story techniques of characterization, dialogue, description, and scene-making. After midterm, there will be no classroom meetings but independent conferences with the instructor. However, those students who wish to receive feedback from other members of the class will be assigned small study groups in order to exchange stories. In addition to the required short fiction, there will be a midterm exam and/or "creative writing" essay/project geared toward "the writer as insider." Textbooks: Robert Penn Warren and Albert Erskine, eds. Short Story Masterpieces; Kit Reed, Story First: The Writer as Insider. Recommended: Stephen Minot, Three Genres: The Writing of Poetry, Fiction and Drama. (Jones)

Section 003. 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)

325. Intermediate Exposition. (4). (HU).
Section 005.
A practical rather than theoretical approach to English composition. Objective: facility in writing a variety of exercises (illustration, classification, description, analysis, characterization, comparison and contrast, persuasion, process, objectivized autobiography, etc.). Method: close analysis, by instructor and by members of the class, of student essays. Outside literature (mainly by Orwell) will be used only as models for specific writing assignments. Formally scheduled conference between instructor and individual students. Atmosphere: newsroom rather than classroom. (Eby)

355. Core I (Great English Books). (4). (HU).
Section 002.
In this course we will read and discuss some major authors and works from the Middle Ages and the Renaissance. Some major texts we will read are: Beowulf, Sir Gawain and the Green Knight, parts of Chaucer's Canterbury Tales, a medieval play, Marlowe's Dr. Faustus, Shakespeare's King Lear and parts of Milton's Paradise Lost. The course is the first in the core sequence required for English majors. Instruction will be by lecture and discussion, and grades will reflect students' participation in class as well as performance in a midterm and final examination, and in several papers on assigned topics. (McSparran)

Section 003. Three periods of English literature will be covered - the Old English, the Middle English, and the Renaissance. For the first, we shall read Beowulf and a selection of Old English poems in modern English translation. For the second, we shall read a modern English translation of Sir Gawain and the Green Knight and portions in the original of Chaucer's The Canterbury Tales. For the third, we shall read two plays (perhaps The Duchess of Malfi and Volpone), lyrics by Donne, Shakespeare, and some early seventeenth century poets, and finally certain well-demarcated segments of Paradise Lost. There may be a course pack in which will be present light pieces from the Middle English and Renaissance, diversions to be used between portions of weighty items. The course is the first of the required Core sequence for English majors, although it is open to all LS&A upperclasspersons. There will be one paper on a topic drawn from the readings in the Old English period, two exercises on Chaucer's prosody and idiom, a midterm, an appreciation of one of the plays, and an analysis of Milton's rhetoric and style. There will be a final. (Sands)

Section 004. "Tales of best sentence and moost solaas" (English 355.04). This course is designed to meet the needs of students who are about to embark on the concentration in English at the upper division level. The readings represent some of the most seminal literary works of the English Middle Ages and Renaissance, including Chaucer's Canterbury Tales (selections in Middle English); Sir Gawain and the Green Knight; Everyman; Sidney's poetry; Marlowe's Dr. Faustus; Shakespeare's sonnets and King Lear; Donne's lyrics; and Milton's Paradise Lost and prose treatises. The course is organized in order to consider the readings in the context of relevant historical developments as well as to appreciate the particular achievement of each work through close reading. Meetings will proceed by lecture and discussion, with occasional slide shows. Requirements: two brief essays, a midterm and final exam. Please note the time change to the Fall, 1983, Time Schedule class now meets MF 2-3 and W 2-4. (Gellrich)

Section 005. Concerned with the most prominent contours of English literature, the course aspires to intimacy with the nature of the achievements of Chaucer (The Canterbury Tales), Spenser (The Faerie Queene, Book I), Shakespeare (King Lear and The Tempest), Jonson (Volpone and select poems), Donne (select poems), Webster (The Duchess of Malfi ), and Marvell (select poems). The approach will be at once horizontal in relation to these authors, and vertical in terms of their patterns of thought and modes of articulation. (Patrides)

Section 006. This course will consider the development of English literature from the Middle Ages through Milton. We shall examine the great works of this period in all genres, with particular emphasis on non-dramatic poetry. The readings will include Sir Gawain and the Green Knight, Pearl, The Canterbury Tales (selections), a play by Marlowe and Jonson, The Faerie Queene (selections), short poems by Sidney, Spenser, Raleigh, Greville, Donne, and Herbert, and Paradise Lost (selections). Class time will be divided between lecture and discussion. Required: three short papers and take-home midterm and final examinations. Text: The Norton Anthology of English Literature (4th edition) ed. Abrams, et al. (Shuger)

Section 007. A selection of works from the late Middle Ages through the Renaissance, e.g., Chaucer's Canterbury Tales, "The Second Shepherds' Play," Everyman, Sir Gawain and the Green Knight, Spenser's Faerie Queene, Marlowe's Dr. Faustus, poems by John Donne and George Herbert, Jonson's Volpone, Webster's Duchess of Malfi, Milton's Paradise Lost. Mostly discussion, occasional lecturing. Three papers, a variety of short written exercises, modest attempts at staging one or two of the plays. A midterm exam; a final exam. (English)

356. Core II (Great English and American Books). (4). (HU).
Section 001.
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 the period; study various movements and schools; 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 002. The second in the three part concentration sequence in English and American literature, this course aims at being a thorough introduction to the main currents of 18th and 19th Century poetry and criticism. Prose fiction takes a back seat here. Authors to be studied include Dryden, Swift, Pope, Dr. Johnson, Blake, Wordsworth, Coleridge, Byron, Emerson and Melville. There will be two papers (ca. 1500 words each) and a final examination. (Schulze)

Section 003. Although the scope of this course dictates a small section of representative works rather than a full scale survey, we shall try to understand some of the important religious, political, esthetic, and literary differences between the three periods we study: England in the later 17th and early 18th century, England during the Romantic upheaval; America before the Civil War. In the first period, we shall consider selected works by Dryden, Pope, and Swift along with Dr. Johnson's lives of those poets. In the second, we shall begin with two transitional figures, Blake and Austen; then consider the theory of Romanticism announced by Wordsworth and Coleridge in the preface to the Lyrical Ballads in relation to their poetry and that of Keat's and Byron's. Finally, we shall consider how English styles and ideas from both periods underwent a different development in America, moving from brief selections from early American authors toward a fuller consideration of Hawthorne and Melville. Lectures will stress the cultural context in which this literature was written; class discussions will be exercises in close reading. Three 5-8 page papers, one on each period. A midterm hour test, and a two hour final. (Winn)

Section 004. The course will depend on two basic contrasts: between the classical literature of wit and control in the eighteenth century and the romantic literature of dynamism and discontent in the nineteenth; and between British and American forms of romanticism. Thus, for example, Blake will be considered in relation to Pope on the one hand and to Whitman on the other. We will proceed in five stages. (1) The Age of Reason: Satire and Hate (Pope, Swift, Austen); (2) The Revolt of Energy: Romantic Radicals (Blake, Emerson, Whitman); (3) Natural Supernaturalism: The High Romantics (Wordsworth, Coleridge, Thoreau); (4) The Dark Underside: Romantic Evil (Hawthorne and Melville); (5) The Last Romantics: Toughing it Out (Keats, Dickinson, Brontë). At the beginning of each stage I will offer a lecture and debate. In addition, I hope to organize some optional guest-lectures on the art and music of the periods. Written assignments: three essays of about 6 pages each; a final examination. (Weisbuch)

Section 005. The course is designed to survey British and American literature of the 18th and 19th centuries to the extent possible within one term. Readings will include Defoe's Moll Flanders; selections from Dryden, Pope, Collins, Gray, and Blake; a representative sampling of British Romantic poetry: Mary Shelley's Frankenstein; Poe's Tales; Hawthorne's Scarlet Letter, and short works by Melville. 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. Requirements: three short papers and a final exam. (Larson)

Section 006. English 356 is designed as the second course in the three-term sequence for English concentrators; it covers the period from the Restoration through c. 1850. My objective is to acquaint students with some of the major figures and most of the major literary forms of this rather extended period. To achieve that aim, I plan to use both lectures and class discussions, with the former focused primarily on topics of literary and critical history and the latter focused on particular texts. Our chief topics will be drama and literary criticism, fiction, and poetry. Major authors will include Dryden, Congreve, Wycherley, and Sheridan; Swift, Defoe, Fielding, Austen, Hawthorne, and Melville; and Dryden, Pope, Blake, Keats, and Wordsworth. Students will be expected to participate actively in class discussion, present one oral report, earn a passing grade on a midterm examination and a final, and write two brief papers. (Jensen)

357. Core III (Great English and American Books). (4). (HU).
Section 001.
We will read a variety of texts, ranging from Whitman, Yeats, and Faulkner to Toomer, Scott Momaday, and Maxine Hong Kingston. The list of names may indicate a shift of focus: from certain canonised writers to "great issues" that have been involved in the cross cultural and segmented identities and concerns that have made for the "Englishness" and the "Americanness" of modern and contemporary literature. The experience of the World Wars, for example, assumes a fascinating series of variations when we read Hemingway, Mckay (Afro-American), Welch (Native American), Uchido (Japanese American). In much the same way, issues of the day, and century, such as feminism and the canon may be looked at in ways that range from Virginia Woolf to Gwendolyn Brooks to Wendy Rose. In sum, narrative, theatrical, and thematic concerns will be put through a prism that will try to capture the literary assets and liabilities that come with England as island and empire and with America as a spectrum that ranges from reservation to academy. Work load: journal reports, two 5 page papers, and a final project. (Johnson)

Section 002. This course will examine works by American and British writers from the Victorian period to the present. Texts by male and female authors will be read in pairs, chosen according to direct personal and/or literary influence, as precursors of separate traditions, or as representatives of similar geographical regions. Questions will be raised concerning the transformation of literary styles, the formation of a literary canon and the impact of history on literary production. Novels will include Brontë's Jane Eyre and Dickens' David Copperfield; James' Daisy Miller and Wharton's The House of Mirth; Joyce's Portrait of the Artist and Woolf's To the Lighthouse; Faulkner's Absalom, Absalom! and Walker's The Color Purple. Poets will include the Brownings, Eliot and H.D., Frost and Bishop. There will be two essays and a final paper. (Herrmann)

Section 003. This course, the final in the Core sequence required of English concentrators, will treat poetry and fiction representative of major cultural periods in Britain and America from mid-nineteenth century to the present. Our reading list will be likely to include the following works: for Victorian England, George Eliot's Mill on the Floss and Hardy's Tess of the d'Urbervilles; for late nineteenth-century America, James' Portrait of a Lady; for the Irish Renaissance, Yeats' poetry and Joyce's Dubliners; for English and American modernism, Lawrence's Sons and Lovers, Woolf's To the Lighthouse, T.S. Eliot's poetry, and Stevens' poetry; for English and American post-modernism, Lowell's poetry, Plath's poetry, and Drabble's The Realms of Gold. This course will emphasize the improvement of the student's writing, with rough drafts recommended for the three medium-length papers. There will also be a final exam. Classes will operate primarily as a lecture-discussion, but we will also regularly break up into smaller discussion groups. (Hannay)

Section 004. This is the third of three Core courses, required of English concentrators but open to all students interested in the best English and American literature of the past hundred years. We will read Henry James' The Awkward Age, E.M. Forster's Howards End, F.M. Ford's Parade's End, O'Neill's Mourning Becomes Electra, Faulkner's Absalom, Absalom!, Baldwin's Another Country, Thornton Wilder's Theophilus North, and Margaret Laurence's The Diviners. That list provides not only satisfying richness but also fascinating variety in several genres and in several experimental modes. The course will include some introductory lectures but will depend on informed class discussion. Students will write two major essays and a few brief exercises. There will be a final examination. (Powers)

Section 005. 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)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001.
To read Shakespeare is a joy: it is also to receive the plays in a form strangely alien to their nature. We shall attempt in discussion to obviate the problem so much as we may, to keep the "presentational" mode of the plays central. It is in this context that we shall attend to the plays' themes, structure, patterns of imagery, and genre. For Fall 1983 we shall examine the ways in which Shakespeare depicts the course of passion as it disrupts social and political forms or comes to a sort of dynamic and dynastic rest in "kindly" marriage. We shall read the following plays: Richard III, Henry IV (1,2), Henry V, As You Like It, Midsummer Night's Dream, Othello, Lear, Antony and Cleopatra, Measure for Measure, Troilus and Cressida, and The Tempest. Course requirements: probing reading of the plays, regular class attendance, some memorization from the plays. There will be three relatively brief essays (4-6 pp.), a midterm and a final examination. Mode of course: lecture-discussion. (Williams)

Section 002. This course is designed to introduce students to Shakespeare's major achievements in the drama. We shall read twelve plays, chosen to illustrate the range of Shakespeare's accomplishment and his work in various dramatic kinds comedy, history, tragedy, and romance. Most class periods will be devoted to lecture, supplemented from time to time by class discussion, oral reports from students, and the presentation of selected scenes. The emphasis in all of this will be on Shakespeare as a writer for the theatre, though students will also be introduced to a variety of critical approaches to the plays that consider them chiefly as literary documents. Work for the course will include two short papers, a midterm, a brief quiz or two and perhaps an oral report, and a final examination. I have not yet settled on the plays for this term, but they will in all likelihood include Twelfth Night, King Lear, Antony and Cleopatra, Richard III, The Winter's Tale, Measure for Measure, and Othello. (Jensen)

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, 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)

412. Major Directors. (3). (HU). May be repeated for credit.
Bergman and Fellini.
We will make a careful analytical study of major films spanning the careers of these two masters. Our focus will be on the cinematic "languages" and the dramatic themes of Bergman and Fellini, the relationship between what they say and how they say it, their styles, their content, and their context. Each week, we will see one film, introduced by a lecture on the previous day, followed by a lecture/discussion on the following day. Size of class and amount of support staff will determine the feasibility of additional small discussion groups. There is no prerequisite for English 412, but this course is not "An Introduction to the Movies." Previous work in film theory, mechanics and aesthetics couldn't hurt. At the very least, you should do some preparatory reading over the summer. Come see me; I shall be happy to recommend texts, should film study be new to you. The course will pay attention to meat and potatoes as well as to sauce and soufflé (and, while we're at it, to nuts and bolts; it isn't all culinary). Some reading; 3 two-page papers; 1 five-page paper; 1 ten-page paper; no exams. No "Incompletes." Illiterates will find no place to hide. Anyone who uses "media" with a singular verb flunks. (Bauland)

417. Senior Seminar. Open to seniors and second term juniors. (3). (Excl).
Section 002 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 humanist Platonic thinking. My course this term will study some of the ways in which Greek tragedy (and to varying degrees later drama) already confronts in full the problem of nihilism and how the succeeding tradition of literary and philosophic critical thinking (as it emanates from Plato and Aristotle) has worked systematically to subvert and displace this tragic encounter, an encounter which I will try to identify as a version of the prophetic. 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, Kierkegaard, Freud, Heidegger, and some more recent theorists Foucault, Derrida, Girard, and others. Class will proceed by lecture and discussion. There will be a series of short and one longer critical papers and a series of quizzes. (Goodhart)

Section 003 The Problem of Desire. This Senior Seminar will trace the question of the genesis and operation of desire through a series of philosophical texts (chiefly chapters of Hegel, Kojeve, Girard, Lacan) to establish a fundamental premise: namely, that human desire is not individual and spontaneous, but imitative and mediated. Language and literature are mediated in the play of human desire when books are imitated, when language, style, and speech are mimicked, when characters are treated as models for behavior both within and outside of fiction. Modern writers (such as Joyce, Lawrence, and Kafka) are keenly aware of this problem, and develop various strategies for withdrawing themselves from the play of desire: by making their works difficult, inimitable, even inhuman. (Norris)

Section 004 Nature and American Writing. The reading for the course will begin with fairly obvious choices (Thoreau, Frost, et al.) and, less obviously, for orientation and structure, Barbara Novak's Nature and Culture: American Landscape Painting 1825-1875. Many names will suggest themselves for such a topic and its breadth leaves us free to pick those that appeal to us. For the second half of the course each student will do just that, choosing a text (presumably one central to the seminar paper) and presenting it to the seminar for discussion. At the end of classes each student will hand in a seminar paper, which will be the basis for the course grade. SPECIAL NOTE: students must be able for a few weeks in the second half of the term to change to an alternative class meeting time in order that we can schedule longer sessions for student presentations. (Lenaghan)

Section 005. We will explore the border zone between works that purport to be factual and those which, deliberately fictional, incorporate factual materials. We will (1) consider why works of "fictionalized fact" are prevalent in the contemporary literary scene; (2) try to learn how to interpret them; (3) try to discover what and how they mean. In those efforts we will inquire into "the nature of narrative" and trace some changes in that nature. Primary works will include some examples from autobiography (Orwell, McCarthy); some from journalism (Mailer); some that incorporate history in fiction (Doctorow); at least one that creates a legendary past to serve as history (Hong Kingston); and some that reflect the contemporary making of the history called Vietnam (Bryan, Herr). A course packet will offer readings in critical, narrative, and socio-political theory. There will be weekly short writing assignments, a term-long group project, and two edited course papers. Some (interruptible) lectures, some classtime discussion, and late in the term group-project reports. (Van't Hul)

Section 006 The Tradition of Ulysses. Joyce's 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 reading of Ulysses, 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 they are transformed by Ulysses : Homer's Odyssey, Shakespeare's Hamlet, and Flaubert's Madame Bovary. Next we will look at the converse question, how and why subsequent writers assimilated Joyce's experiments into their own work: Woolf's Mrs. Dalloway and Beckett's Murphy. Though previous acquaintance with Joyce's works would naturally be a help, any student willing to engage Ulysses with sustained effort, regardless of background, should find the content and method of this course enjoyably rewarding. This course will strongly emphasize the improvement of the student's writing, with rough drafts required for three medium-length papers. (Hannay)

Section 007 Interpreting Biblical Narrative. "There is nothing hid, except to be made manifest; nor is anything secret except to come to light." While this axiom from Mark's Gospel (4.22) would appear to provide a theory for reading the parables of the New Testament, nonetheless they remain dark and mysterious, like much of the Bible. In this course, we will study the relationship between theories of interpretation and the reading of texts through intensive study of several Biblical passages, mostly from the New Testament. We will be interested in discovering the full range of meanings in the readings (historical, moral, eschatological); but we will also be concerned with the assumptions about interpretation implied in the texts themselves, especially insofar as they suggest how the texts are composed. We will then move away from the Bible and examine the influence of biblical narrative on other modes of writing in the Western tradition. We may turn to Chaucer's Troilus and Criseyde, Shakespeare's tragedies, or modern allegories, if time permits; but our main concern will be on how the Bible has helped to shape our ideas about literature and theory. The course will proceed through lecture and discussion. Requirements will include a few essays and perhaps a final exam. (Gellrich)

Section 008 Dr. Johnson and his Friends. Whether considered as an author or as a subject for other authors, Samuel Johnson stands among the most important figures in English literature. Poet, essayist, and lexicographer, he was also a biographer whose life inspired a great biography, Boswell's Life of Johnson. He was at the center of a group of artists, actors, and authors, both men and women, who excelled individually and who shone as a group, making London in the mid- and late 18th century, brilliant with their works and their wit. We will start with a close examination of a text (probably Rasselas ) and the criticism of that text, with a view to developing skills with which to judge criticism. After that our approach will be primarily but by no means exclusively biographical. The principal handbook and guide will be Boswell's Life of Johnson, to be read as we follow the lives and work of Johnson, Boswell, Reynolds, Goldsmith, Burke, Fanny Burney, Hester Thrale, Hannah More, David Garrick, and others whose lives were powerfully affected by Johnson. This course offers students an opportunity to study two authors (Johnson and Boswell) in depth, to live familiarly in 18th-century London, to examine genres often neglected in literature courses (biography, periodical journalism, travel literature, lexicography, history), and to pursue special interests through study of members of Johnson's circle. Early in the term each student will choose (or be assigned) a topic for special investigation and will be expected to make periodic reports of work-in-progress to the seminar. Sustained active participation in meetings of the seminar is required. Discussion, reports, a short early paper and a long final paper. (Cloyd)

423, 424. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3 each). (HU). May be repeated for credit with permission of the undergraduate chairman.

English 423 is offered Fall Term, 1983.

Instruction in the writing of fiction through individual conferences and periodic group meetings with students who are beyond the beginning stage as fiction writers and who expect to produce regularly during the term. Candidates for admission must submit (to the Hopwood Room, 1006 Angell Hall) samples of their work well before the beginning of the term. (Aldridge)

427. Playwriting. Permission of instructor. (3). (HU).

The craft of professional playwriting is taught through lectures on dramatic structure and basic outlining, the reading and analysis of plays, writing exercises, attendance at productions, and the writing of at least two one-act plays for the company of student actors attached to the class. A selection of the plays is performed for the public at the end of the term. Grades are based on attendance, level of participation, papers, and the mastery of basic playwriting craft as demonstrated in plays and criticism. Admission by permission of instructor. Overrides will be available September 9, 1983. (Stitt)

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

The course will focus on the student's writing. One day each week we will meet in writing groups; the other day we will meet as a class discussing our reading (such books on writing poetry as Freibert and Young's Field Guide and Hugo's Triggering Town ) and do exercises on form, sound, diction, and voice. The main work to be handed in and graded will be a sequence of six or eight original poems written for the course. Course grade will be based on class participation, a course log, and the original poems. Individual conferences with the instructor will be held. To register, submit four or five poems (plus your name, phone, and campus address) to the Undergraduate Secretary, 7607 Haven Hall, by 4 PM Friday, Sept. 9. A list of students admitted will be available at the Undergraduate Secretary's desk (and a copy posted outside the instructor's door) by 1 PM, Monday, September 12. The first class meeting will be Tuesday, September 13. Class limit: 15. (Dunning)

431. The English Novel from Dickens to Conrad. (3). (HU).

We will study some of the major nineteenth-century English novels, most likely: Jane Eyre, Middlemarch, Our Mutual Friend, Vanity Fair, Tess of the d'Urbervilles, and perhaps novels by James and Conrad. Though the course will be wide-ranging, we will pay particular attention to the complex of themes surrounding sexual desire and repression in Victorian fiction. Discussion, two papers, final. (Kucich)

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

This course will offer select representation of the range and development of the American novel over the past hundred years, and will take note of certain experimental ventures in that genre as well. We will read Twain's The Adventures of Tom Sawyer and Adventures of Huckleberry Finn, Henry James' The Portrait of a Lady, Chopin's The Awakening, Sherwood Anderson's Winesburg, Ohio, Hemingway's In Our Time, Faulkner's The Sound and the Fury, Baldwin's Another Country, Thornton Wilder's Theophilus North, and Margaret Laurence's The Diviners. The course will include some introductory lectures but will depend upon informed class discussion. Students will write two short essays and a term paper. There may be a final examination. (Powers)

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

The class will study some of the major novels written in England, America, and on the continent during the past 100 years. We shall begin with Dostoevsky's The Brothers Karamazov and try to understand the major breakthrough that the author made in fiction and the impact he was to have on future novels and modern thought. The class will then examine the nightmare world of Kafka's The Trial and the psychic eroticism of Lawrence's Women in Love. We shall spend a number of weeks on Joyce's Ulysses, trying to understand the full dimension of the work and its relations both to the history of the novel and twentieth-century civilization. Sartre's Nausea will lead us to problems concerning existence and action, and Faulkner's Absalom, Absalom! will force us to confront our own American dilemma, while allowing us to make a final assessment of the variability and possibilities of the modern novel. The course will proceed as a series of discussions between students and the instructor, except when brief lectures are necessary to clarify difficult points, give background information, or simply prod conversation. Each student will be required to write two short papers, an examination on Ulysses, and a final examination. (Konigsberg)

434. The Contemporary Novel. (3). (HU).

The course will focus on a reading and discussion of fiction since 1945. There will be introductory lectures on the evolution of post-modern from the classic modern modes in fiction and on the chief features of the post-modern as exemplified by single novels by such writers as Beckett, Barth, Heller, Hawkes, Bellow, Mailer, Vonnegut, and Kosinski. Lectures and class discussion. One long or two short papers will be required. (Aldridge)

440. Modern Poetry. (3). (HU).

Readings in the work of selected British and American poets of the first half of this century: Yeats, Frost, Stevens, Eliot, Auden, and others. We will give most of our attention to no more than twelve or fifteen poets, but others will be named for additional reading. We will try first of all for a sympathetic understanding and enjoyment of the individual poems, but we will also necessarily take note of the different kinds and currents of poetry produced during the period and consider some of the ideas, events, and historical developments that helped to give it its distinctly modern style or character. Lecture and discussion, hour exams, two papers, a final exam. (Hill)

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

A course covering European drama between the final decade of the nineteenth century and the second World War. We will focus attention on the major dramatists of the period Ibsen, Strindberg, Chekhov, Shaw, Synge, Eliot, Pirandello, and Brecht reading several plays by each. We will explore the following issues: the tension between naturalism and more stylized modes such as the dream play, opera, and the play-within-a-play; the impact on drama of different theories of the theatre and theories of acting; Anglo-Irish attempts to revive verse drama; the play of ideas; modes of addressing (or confronting) the audience; modern conceptions of heroism. More broadly, our study will trace the development of new dramatic forms as these dramatists make unprecedented - and often impassioned use of the stage to address social, psychological, and philosophical questions. Lectures will be complemented by discussion; participation in the course will include two papers and a final exam. (Garner)

461. English Romantic Literature. (3). (HU).

The heart of this lecture-discussion course will be our readings in the six major poets of the period: Blake, Coleridge, Wordsworth, Shelley, Byron, and Keats. We shall read in its entirety Wordsworth's long autobiographical poem, The Prelude, as a paradigm of Romantic literature in general. A selection of non-fiction prose from an anthology, and two novels (by Scott and Mary Shelley, most likely) will fill out the syllabus. A short paper on an assigned topic and a long paper on a topic of the student's choice will be required, as well as a midterm and a final examination. (Goldstein)

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, 2nd edition, is the necessary text. (Garbaty)

470. Early American Literature: Key Texts. (3). (HU).

The colonization of North America was prepared and executed to a great extent in language, and this course will survey the various strategies by which the land and the people who inhabited it were "rewritten" to accommodate the imperial imagination of Western European explorers and settlers from Columbus to Cooper. We will also study various expressions of community and faith that helped the colonists define their place in history and the new world around them, especially as their vision was formed by the major poets of the period. In addition to all of the important literary texts produced in North America prior to the Transcendentalist movement of the early nineteenth-century, readings will include early histories of the Indian wars, captivity narratives, a wide variety of nature writing, and influential prose works such as Cotton Mather's Magnalia Christi Americana and Ben Franklin's Autobiography. A midterm, a final exam, and a long paper will be required. (M. Clark)

471. Nineteenth-Century American Literature: Key Texts. (3). (HU).
American Renaissance, American Romanticism.
An introduction to the classics of American literature before the Civil War, featuring Hawthorne, Melville, Emerson, Fuller, Thoreau, Dickinson, and Whitman. These writers sought to create a uniquely American literature, but also saw themselves as participants in the international and interdisciplinary tendencies of Romanticism. In readings of The Scarlet Letter, Moby-Dick, Walden, "Song of Myself," Dickinson's poems, and essays by Emerson and Fuller, we will study the tensions generated by these motives. Three papers. (Ellison)

473. Topics in American Literature. (3). (HU). May be repeated for credit.

North and South American Literature. A study of themes common to both United States and Spanish-American literature, with the main emphasis on Spanish-American writing since 1945. The course will identify common cultural dilemmas and opportunities in the Americas and examine how Spanish-American writers have honored the literature but not the political power of the United States. Topics include: 1) Faulkner and Garcia Marquez both have created imaginary fictional countries, with real histories, dynasties, and family atmospheres; 2) "Magical realism" - the need to experiment with outlandish events and unusual forms to convey a true sense of nature and history in South America; 3) Borges, Hawthorne, and Poe as elaborate provincial artificers, would-be Europeans in an American setting; 4) Neruda and Whitman as poets of the vast American landscape and of American sensuality and fraternity; 5) Arguedas the cultural oppression of Indians and their surviving imagination; 6) Popular arts films, music, soap operas as a basis for the new Latin novel and a means to a common idiom, with differences, in North and South America. Historical background will be provided when it seems called for. A reading knowledge of Spanish is desirable but not necessary. Readings include works by Garcia Marquez, Faulkner, Fuentes, Borges, Neruda, Whitman, Arguedas, Puig, and Vargas Llosa. Students will be asked to contribute to discussions, keep a journal, and write a major paper in both a corrected draft and a final version. (McIntosh)

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

See Afroamerican and African Studies 476. (Gayl Jones)

483. Great Works of Literature. (1). (HU). May be repeated for credit if different works are studied.
Section 001 Moby Dick.
"I have written a wicked book and feel spotless as a lamb," Melville wrote after he completed Moby Dick. In our month-long study of his extra-ordinary achievement, we will consider Melville's redefinition of the nature of evil along with myriad other issues posed by the white whale: cannibals, Christians, and the crippling aspects of New England Calvinism Melville despised; how we can and whether we can know anything of life, what Melville calls "the ungraspable phantom"; the whale as the world; Melville's adoption of all literary styles and genres - epic, romance, lyric, tragedy, comedy, adventure tale, factual essay, and dirty joke within a single book; the Pequod as a depiction of a wildly self-destructive white American culture; Moby Dick as an encyclopedia of all human types with the exception, most strangely, of women. If you feel you haven't been experiencing a sufficient frequency of nightmares, Moby Dick will supply them; but Melville's work also proposes, however indirectly, a formula of health to the American dream. The course will proceed by a mix of lecture and discussion. I will ask you to keep a log of your insights and questions to culminate in an essay of about 10 pages. You must attend all class meetings; there will not be an examination. (Weisbuch)

Section 002 Virginia Woolf. Reading and discussion of most of Virginia Woolf's works with some attention to biographies and essays. (Gindin)

488/Classical Civilization 469. Ancient Literary Criticism. Junior standing. (3). (HU).

See Classical Civilization 469. (Gellrich)

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

We will study three successive generations of 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. (Ellison)

494. Honors Survey: The Nineteenth Century. Admission to the English Honors Program. (3). (Excl).

Limited to students in the English Department's Honors program, to be taken in conjunction with English 493. This course treats nineteenth century English fiction, dealing with one novel by each of the following: Jane Austen, Thackeray, Dickens, Emily Brontë, George Eliot, Trollope, Meredith, and Hardy. In addition, some non-fictional prose is included, autobiography or essays by Mill, Arnold, and Ruskin. The method combines discussion with the always interruptible lecture. Probably two papers, a midterm, and a final examination. (Gindin)


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