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.
This program, which will carry 12 hours of credit, along with English 305
to be taken concurrently for 3 hours of credit, will normally constitute the student's entire course load for one term, and will meet 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 D440-001. Teaching English. (3 credits). (Plus concurrent practicum, Education 307-040, 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 separate 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 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 observation of different local secondary schools will be arranged under 307 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. Registration requires overrides, available in the English Department Office in 7607 Haven Hall or from the instructor for the program.
Students interested in participating in this program can get more information from the instructor: Alan Howes, 763-2269 (office), 662-9895 (home). He 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. A brochure with a general description of the teaching certificate program in English is available in the English Department Office.
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 kinds of expository prose.
Several sections of English 223, the beginning course in creative writing, are available each term; the work is multi-generic, and two of the following will be covered in each section: fiction, poetry, and drama. More experienced writers may apply for admission to specialized sections of English 227, English 323, English 423, English 427, and English 429. Admission to these advanced courses is by permission of the instructor, who will require writing samples.
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 at the University of Michigan. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers exemplifying the various modes of discourse which comprise our academic community.
Individual course descriptions will be available for reference in 444 Mason Hall after March 25. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
SECTIONS 014, 024, 041 (Pilot) and 043: PERMISSION OF COMPREHENSIVE STUDIES PROGRAM (CSP). These CSP sections are designed for students who want to be certain that they are highly prepared for writing assignments of all kinds and are willing to devote the effort necessary to do so. These sections will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.
167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).
The primary aim of the course is to improve students' skills in reading
and writing. Students will read AS YOU LIKE IT, HENRY IV, part I, HAMLET, KING LEAR, and THE TEMPEST, using them as the basis for weekly writing assignments.
Some class time every week will be devoted to the discussion of student
For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
Primarily for Freshmen and Sophomores
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
220. Intensive Composition. Open to transfer students only. Students must take the ECB Writing Assessment before registering for this course. (2). (Introductory Composition). May be repeated for a total of four credits.
Intensive Composition is a course designed especially to meet the needs of entering transfer students. Enrollment in English 220 is limited to senior, junior, and sophomore transfer students. It is a two-credit course, meeting three hours each week for an EIGHT-WEEK (half-term) PERIOD (September 10 to November 6). English 220 is offered only during the first half of each term, and students must be enrolled before the term begins. The work in English 220 is intensive and the classes are small. This course meets the Intro-Comp requirement and students move from this course to the ECB-required junior-senior writing courses throughout the University.
Students enrolled in this course will write much and often – a minimum of 500 words each week. This course differs from English 125 in the pace of the assigned work, and in the assumed level of transfer students' experience as writers. Students are advised against taking this course as an overload. If you have any questions, please contact the Introductory Composition Office, 444 Mason Hall, 764-0418.
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.
All sections of 223 teach the writing of two of the following three genres: fiction (including personal narrative), drama, and poetry. Different sections will emphasize the individual genres to varying degrees. Classwork involves the discussion of the process of writing and the work 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 may be required.
All sections of English 223 will have course descriptions available for reference in 444 Mason Hall after March 25.
225. Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).
This 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. Classes are usually 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 or from a textbook of collected essays.
All sections of English 225 will have course descriptions available for reference in 444 Mason Hall after March 25. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
SECTION 011 and 020 – PERMISSION OF COMPREHENSIVE STUDIES PROGRAM (CSP). These CSP sections are designed for students who want to be certain that they develop a thorough understanding of argumentation and logical fallacies and are willing to devote the effort necessary to do so. The section will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.
230. Introduction to Short Story and Novel. (3). (HU).
Rather than a comprehensive survey of the short story and novel, this course offers an introduction to the basic techniques of analyzing prose fiction. Beginning with short stories, students learn to define questions of narrative construction, voice, characterization, theme, and style. As critical facility increases, the course will consider more challenging and in some cases experimental fiction. At least three novels will be read in addition to numerous short stories. Student should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.
All sections of English 230 will have course descriptions available for reference in 444 Mason Hall after March 25. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
SECTION 001 – The aim of this course is to teach – or rather to encourage - the reading of poetry with care, sensitivity, critical acuity, and enhanced enjoyment. To this end we will read and discuss, sometimes word by word, a wide variety of poems written in English over the past 400 years. Most students in this class will be considering English concentrations, but anyone who loves literature or the play of language is eligible to enroll. Vigorous class participation will be expected. Several short papers and a term project will be required; there may be occasional quizzes. (Faller)
SECTIONS 002 and 003 – The main assumption: that close analytical attention to parts of poems is indispensable, not inimical, to one's appreciation of whole poems and genres of poetry. The work: reading and re-reading of poems assigned daily; many short over-night written exercises; some impromptu pieces; in-class explication, reading (aloud), and discussion of assigned poems; participation in at least one small-group project; recitation – during the final weeks of the term – of at least 50 memorized lines of poetry in the course anthology. (The usefulness and the nature of midterm and final exams will be discussed early in the term.) (Van't Hul)
SECTION 004 – In this course we read and study poems rather carefully so that we can read poetry with more enjoyment and knowledge. This activity is prerequisite to concentrating in English. The course can also be a good one for students not intending an English concentration but who want to know more about poetry. We go by as much reading of poems in class and as much discussion as we can. We invite familiarity with the main manifestations of English and American verse through the reading of a large number of poems written over the centuries as well as through the close reading of a selected few. That way we can hope to get some sense of the range of lyric poetry as well as some skill at seeing how different kinds of poems are put together and how they work; and this not for its own sake but so that we can know more clearly, enjoy more deeply. Toward the close of the course we will study the work of one major poet – perhaps Yeats or Frost or Dickinson. There will be a number of written exercises, two or three relatively short papers, one hour exam and a final exam. (McNamara)
SECTION 005 – The subject of this course is the beauty of poetry – how to perceive it, how to take joy and understanding from it. We will read together poems written mostly in this century, poems I have chosen because they please me and because I think they will please you. You will write briefly to open each class meeting, to prepare for each day's discussion. Those of us who write poetry and would like to share it with the class, will do so several times during the term. We will also have readings and discussions in some of our classes by working poets in the University. In addition to daily writing, this class requires a midterm paper and a final paper. It has no examinations. (Fader)
SECTION 006 – A course in reading of poetry. By the end of the term you should be able to read poems with comprehension, enjoyment, and confidence. So that you may become a more sophisticated reader of poetry, we will study figures of speech, rhetoric, and meter (you will be expected to develop a rough knowledge of the art of scansion), as well as something about the history of English and American poetry. Regular attendance is required. Two short papers, a term paper (10-15 pages), and a final exam. Texts: AN INVITATION TO POETRY, ed. Jay Parini; THE NORTON ANTHOLOGY OF POETRY. (Tillinghast)
SECTION 008 – A course in how to understand and enjoy poetry. Poems from all periods of English literature and a few poems from other languages and cultures will suggest literary history and the possible functions of poetry (e.g., story-telling, religious chanting, song and dance, social criticism, self-expression). An array of contemporary examples will indicate the situation of poetry now. Our approach will involve close reading, written analyses, discussion, some memorization, and the acquisition of a technical vocabulary enabling an understanding of poetic meter and form. We shall avoid an intellectual response to poetry which evades feeling, but this will not be a course in "poetry appreciation." Students should expect to let themselves become rigorous, subtle, intelligent, alert, responsive readers. Graduates of the course ought to be able to take any poem, read it intelligently (or know what else they need to do so), and have a sense of how good it is, why, and for whom. Texts will be J. Kennedy's INTRODUCTION TO POETRY and a course pack. (Smith)
SECTION 009 – We shall study the traditional and modern forms of English and American poetry, with special attention to the close reading of great examples of the principal forms. We shall proceed chiefly by discussion, supported by short papers, quizzes, a midterm, and a final exam. A major object of the course is to bring students to the point of being able to read and appreciate poems written from points of view and with purposes not immediately obvious or even sympathetic to an unskilled modern reader. English 240 is a prerequisite for English concentrators but it is open to all University undergraduates. (Cloyd)
SECTION 010 – Students will become conversant with the prosodic and figurative dimensions of lyric poetry, with the tropic and structural functions of poetic argument, with the enabling constrictions of lyric economy and the formal contract generally. Our recurrent question, in other words, will be about the relationship of form and imagination. The course is not conceived as an historical survey of the lyric genre in English, but it will have an historical dimension – we will trace the sonnet, for instance, through a long and varied existence. Three 5-page papers, occasional quizzes. Class meetings will be devoted to discussion and close reading. (Gregerson)
SECTION 011: Questions of very different kinds can be asked about a poem (What does this word mean? Does line one rime with line four? 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)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
Section 001 – What have "theater" and "drama" meant at different times in history, what do they mean now, and what else could they mean? What impulses and skills have gone and go into the creation of theatrical events, and what needs do they attempt to fulfill? What's meant by "performance," "stage," "audience," "director," "tragedy," "comedy," and a dozen other terms we tend nowadays to use rather casually? In attempting to answer such questions we will be examining certain key scripts in their theatrical and social contexts. The relevant playwrights are likely to include Euripedes, Shakespeare, Molière, Ibsen, Chekhov, Brecht, and Beckett. Students will also be introduced, through Project Theatre's professional production on-campus, to the making of a theatrical event from conception to performance: those involved with this and other significant local happenings are expected to visit the class. Grades will be awarded on the basis of participation in class discussions and projects, written papers, and exam. (Nightingale)
270. Introduction to American Literature. (3). (HU).
SECTION 001 – We will study the diversity of voices in American writing, not focus only on the classical canon. We will attempt to identify and understand themes and styles that tell us what unites us as a people and what divides us as a nation of diverse people with radically different economic, ethnic, racial, sexual, and education experiences. We will try to understand the uses and importance, if any, of literature in our country. We will test with each other our individual reactions to the reading, learning together to read and talk about our reading with increased sensitivity. Texts will include Anaya's BLESS ME, ULTIMA, Baldwin's GO TELL IT ON THE MOUNTAIN, Baraka's DUTCHMAN, Chopin's THE AWAKENING, Kingston's WOMAN WARRIOR, Morrison's BLUEST EYE, Rich's DIVING INTO THE WRECK, Thoreau's "Essay on Civil Disobedience," Walker's THE COLOR PURPLE, Silko's CEREMONY, and Welch's WINTER IN THE BLOOD. Emphasis will be on discussion, both large and small group. The nature and timing of papers and exams will be decided together by teacher and class. There will be opportunities for group and creative projects. (Alexander)
SECTION 002 – This course offers an introduction to American literature in several genres: drama (O'Neill's MOURNING BECOMES ELECTRA), poetry (a generous selection by Robert Frost), and a variety of fiction (Twain's TOM SAWYER and HUCKLEBERRY FINN, Edith Wharton's ETHAN FROME, Langston Hughes' THE BEST OF SIMPLE, Hemingway's IN OUR TIME, and Margaret Laurence's A BIRD IN THE HOUSE). There will be some introductory lectures, but the conduct of the course will rely heavily on class discussion. Several essays of various length will be required of students. There will likely be a final examination. (Powers)
SECTION 003 – 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)
280. Thematic Approaches to Literature. (3). (HU).
FAMILY STRUCTURES IN FICTION. A study of the familial structures and relationships in a number of nineteenth and twentieth century novels as an approach to a fuller understanding of what the novels are about. The family will be seen in psychological, social, and historical terms, providing some of the material for fiction that each author examines and shapes in his own way. The tentative reading list will include the following: Emily Brontë, WUTHERING HEIGHTS, Thomas Mann, BUDDENBROOKS, John Galsworthy, THE MAN OF PROPERTY, D. H. Lawrence, SONS AND LOVERS, Virginia Woolf, TO THE LIGHTHOUSE, William Faulkner, THE SOUND AND THE FURY, Angus Wilson, ANGLO- SAXON ATTITUDES or NO LAUGHING MATTER, Joseph Heller, SOMETHING HAPPENED, and Saul Bellow, SEIZE THE DAY. Probably two short papers, a midterm, and a final examination. The class will combine discussion with the thoroughly interruptible lecture. (Gindin)
285. Introduction to Twentieth-Century Literature. (3). (HU).
The course will consider how works of certain selected 20th Century writers and/or pioneers of modernism reflect the radical changes that have occurred in modern life and consciousness. Emphasis will be placed on the development of various literary forms, styles, and thematic preoccupations that are characteristic of this age, and to dramatize the changes that have occurred, the class will read a novel of the 19th Century by Jane Austen and a work by Dostoevsky, also of the 19th Century, that anticipated some of those changes. Other texts will include works by Eliot, Joyce, Lawrence, Conrad, Mann, Woolf, Kafka, and Huxley. There will be lectures and, if students are interested, attentive, and lively, there is certain to be good discussion. Two papers will be required as well as a final. (Aldridge)
Primarily for Juniors and Seniors
301. The Power of Words. (4). (HU).
Limited to 75 students who wish to complete the ECB Junior-Senior writing requirement, English 301 is designed around a series of problems involving the uses of English. Among these are policy questions (Should English be mandated as the official language of the United States?), rhetorical issues (How does advertising influence consumers?), and linguistic descriptions (How do men and women differ in their use of English?). These problems will be presented through collections of appropriate material in a course pack. In addition, we will use the excellent textbook by Joseph Williams (STYLE: TEN LESSONS IN CLARITY AND GRACE). Frequent writing assignments will allow students to develop ideas about the English language and its uses. (Bailey)
302. Writing About Good Books. (4). (HU).
This course is open only to juniors and seniors who are fulfilling the Junior/Senior writing requirement. The ECB modification must be added at the time of registration. The course has two primary goals: (1) to delight students with good writing by authors with different styles, fields, and purposes; and to make students increasingly aware of the writing techniques by which these authors achieve their purposes; and (2) to help students learn new ways to make their own writing more effective. Readings for the course will be varied – fiction and non-fiction, short and long, from a number of disciplines – all chosen for their vivid and lucid styles. Lectures will concentrate partly on these readings and partly on writing instruction. The course will call for considerable writing: 5-6 papers, each one revised; quizzes, midterm and final exam; and a journal for commenting on the readings, for experimenting with different kinds of writing, for generating paper topics, and for writing in-class exercises. Finally, students will be responsible for helping each other become better readers and writers through participation in small discussion groups and peer critiquing of the papers. (Livesay)
305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).
Though a requirement for students seeking certification as secondary-school English teachers, English 305 appeals to a broader audience interested in the structure of English and its varieties. Topics to be discussed include: regional and social dialect variation in the United States, English as a rule-governed language shaped by its history, and the history of ideas about good (and "bad" English). English 305 is designed for native-speakers of English (with no prior study of the language or of linguistics) who are curious about the language community of which they are a part. A midterm and final examination allow students to demonstrate the ability to make well-founded generalizations based on the material studied. Two short papers invite exploration of domains of language use. (Bailey)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
This course will examine the relation between women and literature as the site of sexual politics from its beginnings in the early 1970's to current debates surrounding the participation of women in literary production. It will focus on images of women in literature by men, literature by women recently written or recovered from history, and questions concerning the notion of a specific "women's writing." The course will attempt to reflect the diversity of female experience as well as the variety of literary experiments conducted by women writers. For example, a work by Henry James depicting a female heroine might be read in conjunction with the diary of his sister, Alice; actual letters by women might be read as a way of introducing an 18th century epistolary novel and lead to Walker's THE COLOR PURPLE; experiments with language might include an avant-garde play or an attempt at rewriting the dictionary. The class will consist of lectures and group discussions. Requirements include several short writing assignments, a midterm and a final. (Herrmann)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
Section 001 – LITERATURE AND CULTURE OF IRELAND. This course proposes an introductory study of the literature of Ireland from earliest times to the present. This means that we select for reading from among ancient saga, medieval and modern poetry, modern prose fiction (novel and short story), and modern drama. We shall sample both Gaelic literature (in translation) and Anglo-Irish literature. The course has no prerequisite and does not presume prior acquaintance with the subject nor with Irish history, though students with some knowledge of Ireland and its history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. There will be brief quizzes and one hour exam. Two papers will be written, and a final examination. (McNamara)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
Section 001 – NOVELS OF INITIATION. We will study seven novels in which young people go through rites of passage; events in the processes of initiation from childhood or youth onwards marked by growing awareness of the nature of adult experience, the crucial facts of love, change, and death, and the necessity of coming to grips with elements of the human condition. After some lecture material on each author and work, our study will be conducted as much as possible by discussion. There will be a midterm test, a final examination, and a paper. Texts: Brontë, JANE EYRE; Twain, HUCKLEBERRY FINN; Lawrence, SONS AND LOVERS; Lee, TO KILL A MOCKINGBIRD; Faulkner, INTRUDER IN THE DUST; Salinger, THE CATCHER IN THE RYE; Walker, THE COLOR PURPLE, and other novels. Note: The time printed in the Time Schedule is incorrect. The course will meet MWF 12-1:00 in 35 Angell Hall. (Blotner)
Section 002 – FANTASY. This course will explore the nature of fantastic narratives from the beginning of the nineteenth century to the present, drawing texts from such widely different fields as fairy tale, science fiction, and the so-called New Novel. No special background in literature is required for registration, but we will immediately begin to consider broad concepts of art and analysis that should help increase understanding and enjoyment of the books as we go along. The written work for the course will proceed on a contract-like basis as described on a separate handout. That work will revolve around weekly, short papers, an optional longer paper that may be written in substitution for two of the short papers, and an objective final exam. With exceptions to be made clear in class, each book is to be read in its entirety. Required texts: HOUSEHOLD STORIES OF THE BROTHERS GRIMM (1812-1815), Dover; TALES OF E.T.A. HOFFMAN, (1809-1822), Univ. of Chicago Press, ppr; THE PORTABLE POE (1835-1849), Viking, selections only; THE ANNOTATED ALICE, Lewis Carroll (1865, 1872), NAL, ppr; THE ISLAND OF DR. MOREAU (1986), Airmont, ppr. + 28 SCIENCE FICTION STORIES, Dover, ppr, selections only, H.G. Wells; HERLAND, Charlotte Perkins Gilman (1915), Pantheon, ppr.; THE COMPLETE STORIES, Franz Kafka (1915), Schocken ppr, selections only; THE CAVES OF STEEL, Isaac Asimov (1953), Ballantine ppr; THE ERASERS, Alain Robbe-Grillet (1953), Grove; THE TOLKIEN READER (1949-1964), Ballantine, selections only; THE PHANTOM TOLLBOOTH, Norton Juster (1961), Random House ppr; COSMICOMICS, Italo Calvino (1965), Harbrace; IN WATERMELON SUGAR, Richard Brautigan (1968), Dell. Supplementary texts (recommended but not required): THE FANTASTIC IN LITERATURE, Eric S. Rabkin (1976), Princeton Univ. Press, ppr; THE FANTASTIC, Tzvetan Todorv (1970), Cornell Univ. Press, ppr. (Rabkin)
320/CAAS 338. Literature in Afro-American Culture. (3). (HU). May be repeated for a total of 6 credits with department permission.
See Afroamerican and African Studies 338. (Awkward)
323. Creative Writing. Junior standing and written permission of instructor. (3). (HU). May be repeated for credit.
Section 001 – POETRY. A workshop in the writing of poetry; classes involve students sharing their work with each other, giving and receiving constructive criticism. In addition to student poems, we shall discuss poems by established authors, dead and living, with emphasis on the living. For this, a poetry anthology will serve as required test, supplemented by excursions into (and oral reports on) the work of individually selected poets' work. All students will be expected to acquire soon on a critical vocabulary such as will enable intelligent and sensitive analysis. Submission of new writing will be required weekly, as will revision. Writers prone to writing blocks, periods of low energy, ennui, or incapacitating vulnerability ought to think twice about taking this course. I shall be available this term to meet with anyone wishing to discuss the course. Final grades will reflect the quality and quantity of finished poetry, weekly completion of various exercises, and constructive participation. Students interested in enrolling should leave three to five poems in the Undergraduate Office of the English Department by April 15 (1st competition) or by August 31 (2nd competition). Lists of admittees will be available on April 22nd and September 8th. Students wanting to enroll at the last minute are welcome to submit manuscripts on the first day of class if and only if spaces remain. (Smith)
325. Intermediate Exposition. (4). (HU).
This course give students practice in writing expository prose, usually in a variety of non-fiction forms. Its basic goal is the development of an effective personal style, with attention to tone, nuance, and figurative expression. Assignments, totaling 40 pages of prose, will vary in kind and will allow students to draw upon their experience where possible. A long paper may be assigned. It is assumed that students in this course already understand such basic elements of composition as are covered in English 125 and 225.
All sections of English 325 will have course descriptions available for reference in 444 Mason Hall after March 25. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
SECTION 013: Professional Semester. Reserved for Professional Semester participants See the description at the beginning of the English Department listings.
329. Practical English. (3). (Excl).
In a workshop, students will cultivate written and spoken forms that have wide practical use in groups: letters, memos, reports, essays, prospectuses, speeches, public drafts, working papers, and more. Much of the work will be collaborative. Although students will compose and revise individually, they will often create specific assignments, edit, and evaluate in groups. This workshop thus reproduces a crucial feature of social and professional life: acts of writing and speaking typically occur in continuing chains of composition, evaluation, and revision leading to collective results - ideas, documents, plans of action. Clearly, success in this course requires everyone's commitment to group effort. Students will be expected to focus considerable time and energy on writing, editing, reading, and working together. Appropriate readings to be chosen by the workshop. No exams. Individual grades will be based on a minimum of two speeches, a minimum of twenty-five pages of finished prose, and class participation. Meets ECB Upperclass Writing Requirement. Required text: Hodges' HARBRACE COLLEGE HANDBOOK. (Rabkin)
355. Core I (Great English Books). (4). (HU).
SECTION 001 – This course is the first of a three part historical sequence required of those who concentrate in English Literature; our focus will be major literary works of the English Middle Ages and Renaissance. Narrative texts will include: SIR GAWAIN AND THE GREENE KNIGHT, selections from Chaucer's CANTERBURY TALES, Book III of Spenser's FAERIE QUEENE, and the whole of Milton's PARADISE LOST. Selections from the drama will include: Kyd's SPANISH TRAGEDY, Marlowe's JEW OF MALTA, Shakespeare's RICHARD III, and Jonson's BARTHOLOMEW FAYRE. In our study of lyric poetry, we will examine the work of Wyatt, Raleigh, Sydney, Shakespeare, Donne, Herbert, Milton, and Marvell. Three 5-page papers, occasional quizzes. Class discussion will be supplemented, as required, by brief and informal lectures. (Gregerson)
SECTION 002 – The syllabus for this course will probably include: Chaucer, SIR GAWAIN AND THE GREEN KNIGHT, a Marlowe play, short poems of the 16th and early 17th century, and an ample selection from Milton's PARADISE LOST. No special background is required, but a concern for literature is important, as is a willingness to work. The method of teaching will be discussion, not lecture, but carefully articulated discussion. Students will be expected to pipe up. There will be a midterm, a final, and two papers. Grades in this course will be determined by me and the course assistants working together, and will reflect the papers, exams, and your participation in class. If grades are a matter of burning interest, this probably isn't the course for you. I don't give incompletes and don't accept late papers without a medical excuse. (Fraser)
SECTION 003 – A selection of works from the late Middle Ages through the Renaissance, e.g., THE CANTERBURY TALES; SIR GAWAIN AND THE GREEN KNIGHT; medieval plays; THE FAERIE QUEENE; poems by Donne, Herbert, and Marvell; VOLPONE; THE DUCHESS OF MALFI; PARADISE LOST. Mostly discussion, occasional lecturing; oral presentations by student panels; modest attempts at staging two of the plays. Three papers, a midterm, and a final exam. (English)
SECTION 004 – This will be a course in English masters of the late Middle Ages and the Renaissance. We shall read from medieval literature selections from Chaucer's CANTERBURY TALES (in Middle English), the romance GAWAIN AND THE GREEN KNIGHT, and two religious plays. We'll begin our reading in the Renaissance with sonnets by Sidney, Book III of Spenser's FAERIE QUEENE, and Marlow's tragedy DOCTOR FAUSTUS. We'll continue with lyric poetry by Shakespeare, Jonson, and especially Donne and conclude the term with Milton's epic PARADISE LOST. Discussion with short lectures on background. Two bluebooks, two short essays, and a take-home, two-essay final. Text: THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, fifth edition, Vol. I. (Creeth)
SECTION 005 – This course, the first of a three-part sequence required of concentrators (but open to non-concentrators), studies major works of the later Middle Ages through the Renaissance. Class will be conducted as a combination of brief informal lectures and discussion. Readings will include Chaucer's CANTERBURY TALES (selections), SIR GAWAIN AND THE GREEN KNIGHT, More's UTOPIA, Spenser's THE FAERIE QUEENE (selections), plays by Shakespeare and Jonson, a selection of Renaissance lyric poetry, and Milton's PARADISE LOST. Requirements for the course are active participation, one essay, a midterm, and a final. (Mullaney)
SECTION 006 – We will begin with Chaucer (selections from the CANTERBURY TALES) and end with Milton (PARADISE LOST). Readings along the way will include GAWAIN AND THE GREEN KNIGHT (as an example of medieval romance), one book of Spenser's THE FAERIE QUEENE, plays by Shakespeare and possibly Jonson, and lyric poems by Donne and others. The emphasis of the course will be upon understanding and enjoying some of the outstanding works of medieval and Renaissance literature in English by reading them closely, with attention to the society and the cultural context from which they arose. The class will proceed primarily by discussion, with some short lectures. There will be several short papers, some in class writing, and a final examination. (Knott)
356. Core II (Great English and American Books). (4). (HU).
SECTION 001 – A selection of major writers from the late seventeenth to the mid-nineteenth centuries. Readings will include, in this order: Dryden, ALL FOR LOVE; Wycherly, THE COUNTRY WIFE; Swift, GULLIVER'S TRAVELS; Fielding, JOSEPH ANDREWS; Austen, PRIDE AND PREJUDICE; selected poems by Pope, Wordsworth, and Keats; and Thoreau, WALDEN. Each student will also read an additional work of his or her choice, to be chosen from a list of supplemental texts. There will be two exams, a midterm, and a final. A number of brief, informal papers will be required, and also a term paper. This course will emphasize the close reading of literary texts, with a view to their special situation in larger ideological contexts. Our best classes will be lively discussions punctuated by brief lecturely interludes. (Faller)
SECTION 002 – An introduction to central authors and literary problems in England and North America, from 1660-1850. This section of Core II will study a range of popular and lesser-known authors (Behn, Congreve, Dryden, Pope, Swift, Finch, Johnson, Duck, Yearsley, Fielding, Haywood, Sterne, Wollstonecraft, Blake, Dorothy and William Wordsworth, P. B. And Mary Shelley, Keats, Emerson, Whitman, Hawthorne, Stowe) and literary forms (Restoration comedy, Pindaric ode, verse satire, epistle and letter, picaresque novel, lyric poetry, slave narrative, sentimental novel) popular in this period. We will discuss how various works are related to cultural and historical shifts in the period, how male and female writers respond to cultural change, and how different literary genres are shaped by growing national and cultural identities. Three papers emphasizing close reading and a final exam. (Barash)
SECTION 003 – The second of three required courses for English concentrators in major works of English and American literature, this course focuses on poetry and prose from the late 17th to the mid 19th centuries. We move historically and intellectually from Neo-Classical to Romantic modes of literature, reading in Dryden, Swift, Pope, Fielding, Blake, Wordsworth, Shelley, Austin, and Melville. Classes will be devoted sometimes to lectures, more often to discussion of reading assignments. There will be several brief papers, a midterm and a final examination. (Schulze)
SECTIONS 004 and 005 – We will study a number of representative English and American writers from the late seventeenth to the mid-nineteenth century. Among the readings will be a play by Congreve, poetry by Dryden, Pope, Wordsworth, Blake, Keats, Coleridge and Whitman, and fiction by Fielding, Austen, Brontë, Hawthorne and Melville. There will one 1-2 page paper and three 3-4 page papers, plus a final exam. We will concentrate on placing these works in their historical and cultural context by way of close reading. I prefer not to lecture; I encourage as much lively debate and as many questions as possible. (Strychacz)
SECTION 006 – One of the sequence of courses required for those concentrating in English, although open to others, this course treats a number of significant English writers from the late seventeenth through the early nineteenth centuries, and a number of American writers of the early nineteenth century. The tentative list of readings is likely to include poetry by Dryden, Pope, Wordsworth, Keats, Shelley, Emerson, and others, a play by Congreve, fiction by Fielding, Sterne, Jane Austen, Melville, and Hawthorne, and prose by Swift and Johnson. The class will combine discussion with the thoroughly interruptible lecture. Probably three short papers, a midterm, and a final exam. (Gindin)
357. Core III (Great English and American Books). (4). (HU).
SECTION 001 – This course will survey British and American literature from 1850 to the present. In so doing, it will address texts, authors, and movements that signal the movement away from literary romanticism and the emergence of modernism and "postromanticism" in literary and dramatic art. We will address the following issues: narrative, poetic, and dramatic innovation; language and the self; culture and subculture; changing conceptions of the artist; fragmentation and the absurd; emerging voices; critiques of the American myth. Writers will include Dickinson, Arnold, Tennyson, Dickens, Twain, Shaw, Joyce, Lawrence, Faulkner, Yeats, Eliot, Walker, Beckett, and Shepard. Requirements for the course: attendance and participation; two papers (5-7 pages), with outlines and formal revisions; midterm and final examinations. Registered students are reminded that they must attend the first three classes in order to retain their place in the course. (Garner)
SECTION 003 – The final segment in the Core sequence required for English concentrators, this course surveys the fiction, drama, and poetry of the leading British and American authors from the Victorian period to the present. No particular theme will be singled out for study, though we shall certainly be interested in exploring some of the broader continuities and contrasts in this period, particularly the shift from Romanticism to Modernism, the increasing preoccupation with literary traditions, and changing stances toward the family and gender. Among the writers likely to be considered include Dickens, Tennyson, Wilde, Twain, James, Faulkner, Hemingway, Frost, and Barth. Lecture and discussion. Requirements: three essays (5 to 7 pages) and a final exam. (Larson)
SECTION 004 – This course, designed for English concentrators, will examine representative English and American literature of the post-Darwinist epoch. Works to be read and discussed will reflect the larger themes of anomie, entropy, and isolation. The reading list will include the following probables: James, TURN OF THE SCREW with Lawrence, LADY CHATTERLY'S LOVER; Conrad, HEART OF DARKNESS with Twain, A CONNECTICUT YANKEE; Anderson, WINESBURG, OHIO with Joyce, DUBLINERS; Hardy, JUDE THE OBSCURE with Orwell, KEEP THE ASPIDISTRA FLYING; Hemingway, AFRICAN STORIES with Faulkner, THE BEAR; West, DAY OF THE LOCUST with Fitzgerald, THE LAST TYCOON. To avoid the charge of provincialism we will conclude with Kafka, IN THE PENAL COLONY and Mann, MARIO AND THE MAGICIAN. Students will participate in discussion groups. The usual round of papers and exams will be required. (Eby)
SECTION 005 – Mid-nineteenth to twentieth century literature. Third of the three Core courses required for English concentrators, this particular section will be appealing also to those in other disciplines or those working part-to-full time. Focus for the term will be on works by major British and American authors concerning the laboring class: Dickens' HARD TIMES, Hardy's TESS OF THE D'URBERVILLES, West's DAY OF THE LOCUST, Woolf's A ROOM OF ONE'S OWN, Baldwin's NOTES OF A NATIVE SON, Updike's RABBIT RUN; plays by Miller and Pinter, a variety of poetry and short essays. Meeting in two-hour blocks allows movement from lecture and discussion to group presentation within one session. Several in-class writings, midterm, major paper. (DePree)
367. Shakespeare's Principal Plays. (3). (HU).
SECTION 001 – This course is designed to introduce students to the major plays of Shakespeare in each of the dramatic kinds: comedy, tragedy, history, romance. Class sessions will be devoted primarily to lecture, with occasional periods given to student presentations and discussion. The text for the course is THE RIVERSIDE SHAKESPEARE. Students will read from ten to twelve plays. Requirements for the course include regular class attendance and timely submission of work, two essays, a midterm examination and a final examination, and involvement in a student presentation. During the course, students will become familiar with most of the major approaches to the study of Shakespeare's plays, but I shall be concentrating on Shakespeare as a playwright rather than on Shakespeare the dramatic poet. (Jensen)
SECTION 002 – We will read slowly through six of Shakespeare's most interesting plays: HAMLET, MERCHANT OF VENICE, OTHELLO, MACBETH, KING LEAR, and THE TEMPEST. During our reading and discussion we will attempt to understand Shakespeare's accomplishment in the context of his time. You will write briefly to open each class meeting, to prepare for each day's discussion. Two papers, one at midterm and one at the end of the course. No examinations. (Fader)
391. Honors Survey: Medieval English Literature. Admission to the English Honors Program. (3). (Excl).
This course, the first in the English Honors sequence, focuses sharply on a series of major works from the Middle Ages. 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, EVERYMAN, ballads, and early drama. Requirements: several essays and a final examination. (Garbaty)
406/Ling. 406. Modern English Grammar. (3). (HU).
English 406 is an advanced survey of descriptive English grammar. The approach will be functional and theoretically eclectic. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (word formation, "parts of speech," phrases, clauses, sentences, "transformations," and discourse connection), and we will discuss how these structures contribute to the expressive potential of the system. You will have daily practice in grammatical parsing as well as four or five more open-ended problems in grammatical argumentation and application. There will be a final research paper on a topic of your choice and a final exam on the factual material. The course should be attractive to those professionally interested in English education, practical criticism, or further work in linguistic theory – as well as those generally interested in becoming more articulate about the structure of our language. Texts: Randolph Quirk and Sidney Greenbaum, A CONCISE GRAMMAR OF CONTEMPORARY ENGLISH and John Algeo, EXERCISES IN CONTEMPORARY ENGLISH. (Cureton)
412. Major Directors. (3). (HU). May be repeated for credit with department permission.
Section 001 – THE FILMS OF INGMAR BERGMAN. The Swedish film director Ingmar Bergman has made during the past 30 years a group of films that remain one of the most impressive artistic achievements of our time. His films are more than films: they are explorations into psychology and society, examinations of values and beliefs, and expressions of our culture's anguish and confusion. Yet his films are strong statements about endurance and survival, passion and love. Bergman creates a distinct cinematic style to convey his vision, utilizing the techniques of the medium in striking and sometimes innovative ways. This class studies the career and achievements of Ingmar Bergman by examining the following films: THE NAKED NIGHT, SMILES OF A SUMMER NIGHT, THE SEVENTH SEAL, WILD STRAWBERRIES, THE MAGICIAN, THE VIRGIN SPRING, THROUGH A GLASS DARKLY, WINTER LIGHT, THE SILENCE, PERSONA, HOUR OF THE WOLF, CRIES AND WHISPERS, and FANNY AND ALEXANDER. The class will proceed by lecture and discussion, examining the films in some detail and also discussing some relevant literary and intellectual texts. Students will write a few short papers, a term paper of approximately ten pages, and a final examination. (Konigsberg)
413. Studies in Film Genre. (3). (HU). May be repeated for credit with department permission.
Section 001 – INTERIOR VISION: THE SUBJECTIVE CAMERA IN NARRATIVE FILM. We will make a careful analytical study of representative major films spanning the international cinematic history of movies which tell all or part of their tales from the point of view of an involved participant in the action rather than from the stance of an objective onlooker. Film is especially conducive to this dramatic technique, often called by the shadowy name "Expressionism." We will study a wide variety of examples from THE CABINET OF DR. CALIGARI to ALL THAT JAZZ and BRAZIL. Exactly which films we will be seeing depends upon availabilities and negotiations still incomplete, but the selection may well include musical films, thrillers, dramatized nightmares, satiric comedies, and the usual complement of classics by major directors. I will post the schedule long before the term's beginning. There will be one film per week, three hours of lecture, and mandatory small discussion groups, scheduled at your convenience. English 413 may be repeated if content is different from a previous election. This course is not "An Introduction to the Movies," so previous work in film analysis, theory, history, mechanics, and aesthetics couldn't hurt. Should film study be new to you, I recommend Louis Giannetti's UNDERSTANDING MOVIES as preparatory reading (read it over the summer, and you'll be ready for this course). The course will emphasize the relationships between what these films say and how they say it, their styles, their content, and their context. An obligatory lab fee covers the cost of seeing films. Some reading (e.g., Giannetti or a more advanced text for the experienced); two two-page papers; one five-page paper; one ten-page paper; final exam; no "Incompletes." Illiterates will find no place to hide. Anyone who uses "media" with a singular verb flunks. (Bauland)
417. Senior Seminar. Senior concentrator in English. (3). (Excl).
English 417 may ONLY be elected by senior English concentrators. English 417 along with the Core courses meets the Junior-Senior writing requirements for English concentrators ONLY. The ECB modification for 417 MUST be added at CRISP.
Section 001 – TRAGEDY AND THE TRAGIC EVOCATION: FORM, THEORY, THEATER, AND ETHICAL CONTENT. We will study the forms, thematic content, theories, theater history, and changing roles of tragedy in Western drama from Periclean Athens to the present day by reading representative tragedies from the genre's major eras: Classical, Renaissance, and Modern. We will also read theory and criticism of tragedy, mostly modern commentary but also critical masterworks of the past. We will try to determine how each age has made tragedy meaningful for itself and how the tragic evocation has managed to remain a viable literary and theatrical pursuit for 2,500 years. A common body of intensive reading will be the basis for class discussion. Each student will have an opportunity to lead discussion and present a short report, write a short paper, and write a long critical essay (which will surely require reading beyond the common body). The limited size of the class allows maximum participation in the exchange of ideas among people learning together and from each other, which is the nature of a true seminar. This class will require active participation in the discussion of texts. No spectators; no "correspondence course" devotees. Senior English concentrators only should select this class. English 417, along with the three Core courses, meets the Junior-Senior writing requirement for concentrators. Be sure to add the ECB modification (ECB) for 417 AT CRISP to save yourself administrative grief. (Bauland)
Section 002 – AFRO-AMERICAN WOMEN NOVELISTS. Our primary goal in this seminar will be a delineation of an Afro-American woman's tradition in novels. By exploring 20th century texts by preeminent figures such as Zora Neale Hurston, Paule Marshall, Alice Walker, and Toni Morrison, we will be able to address not only the common thematic thrusts of the novels – that is, the racial and sexual oppression of Black women in America – but also the particular (and unique) ways in which these texts speak to one another. In order to successfully achieve our goals, it will be necessary for students to familiarize themselves with critical issues (particularly in the fields of feminist and Afro-Americanist criticism) which will help facilitate discussions of currently controversial theories of literary influence and race's and gender's role in the creation of texts. Because this is a seminar, students will be required to participate actively in classroom discussion (including two oral reports – of 10 and 30 minutes). Other course requirements: one fairly long essay (15-20 pages) based, to some extent, on the longer oral report; one brief (2-4 page) essay; and one 5-7 page essay. Texts will include: Nella Larsen's QUICKSAND; Hurston's THESIR EYES WERE WATCHING GOD; Paule Marshall's BROWNGIRL, BROWNSTONES and PRAISESONG FOR THE WIDOW; Toni Morrison's THE BLUEST EYE and SULA; Gloria Naylor's THE WOMEN OF BREWSTER PLACE; and Walker's THE COLOR PURPLE. (Awkward)
Section 003 – METADRAMA AND THEATRICALITY. If drama responds to life, it is no less true that life draws upon the theater, and that "theatricality" is a central feature of human behavior and identity. This course will explore the ways in which drama highlights its status as theater, the often complex and shifting boundaries of "metadrama" within which the nature of theatrical performance is raised as dramatic subject. In so doing, it will investigate the broader phenomenon of theatricality as exhibited in social behavior and as analyzed by psychologists, sociologists, and acting and performance theorists. Dramatic texts will range from Shakespeare through Pirandello, Genet, Stoppard, and Churchill, though attention will also be given to metadramatic traditions within non- Western drama such as the Japanese NOH. Requirements will include seminar reports, a term paper, and shorter writing assignments. Registered students are reminded that they must attend the first three classes in order to retain their place in the course. (Garner)
Section 004 – WILLIAM BLAKE'S ILLUMINATED WORKS. This seminar studies the verbal/visual arts of William Blake's illuminated books, together with some of his other writings and pictorial works. The principal illuminated books to be studied are SONGS OF INNOCENCE AND OF EXPERIENCE, THE MARRIAGE OF HEAVEN AND HELL, and THE BOOK OF URIZEN. Written work includes classroom reports and longer papers. (Wright)
Section 005 – SHAKESPEARE IN PRODUCTION. The simple premise of the course is that a production is among other things a critical reading of the play. The common course work will be the discussion of some of Shakespeare's plays and such productions as we can get access to (BBC videotapes, films, and presumably some amateur readings of our own as the equivalent of seminar reports). Each student will write a seminar paper on a topic arising from the course work. It may be necessary to change times to special evening sessions to accommodate the readings-reports in the second half of the term. Therefore all students will have to be able to attend these special sessions at the time we will determine at the first meeting. Students will be expected to pay for two or three theater tickets and perhaps a film fee. (Lenaghan)
Section 006 – THE LITERATURE OF FRIENDSHIP. There is in Western culture an enormously rich literature dealing with the possibility, the nature, and the value of friendship. The power of attraction which leads to the bonding of friendship is sometimes understood as one of the two basic forces in nature; in any case, the term is an unstable one, and serves as an index of basic social and moral views. Early in the Greek tradition, it refers particularly to male bonding, and that understanding remains a strong one in the tradition. Plato attempts a philosophical reading of the bond. Jewish and Christian texts take up the startling possibility that one might be a friend of God. Romance texts attempt to correlate spiritual friendship and heterosexual desire; one long renaissance and modern tradition celebrates marriage as the culmination of the ideal. Marxism has made a powerful attempt to tie the concept to political ideology. Some of the bleakest modern literature sees an alienation or isolation so radical as to make friendship impossible. We shall be reading works, some philosophical, some literary and fictional which deal centrally with the issues I have sketched above. Authors either discussed in class or appropriate for individual research will include Homer, Plato, Cicero, Christian von Eschenbach, Dante, Ariosto, Montaigne, Shakespeare, Defoe, Goethe, Vigny, Flaubert, James, Forster, and Lawrence. We shall discuss eight or nine works in class; willingness to read intently and discuss intensely and graciously is prerequisite. There will be written and oral reports, and a final examination. (Williams)
Section 007 – DONNE, HERBERT, JONSON, AND THE EARLY 17TH-CENTURY LYRIC. This course will involve a close analysis of the work of three of the greatest lyric poets of the English Renaissance: John Donne, George Herbert, and Ben Jonson. We will be particularly interested in placing the lyrics in their political, historical, religious, and social context. A willingness to consider the relationship between poetic performances and non-literary kinds of discourse will be assumed. This course will be conducted as a seminar; attendance and participation will therefore be required. Other requirements include two papers (one short, one long), an oral presentation, and the keeping of a journal of responses to the poetry. (Schoenfeldt)
Section 008 – CRITICAL APPROACHES TO SHAKESPEARE. This seminar is designed with two purposes in mind. On the one hand, it will provide a forum for intensive discussion of major dramatic and lyric works by Shakespeare. On the other hand, secondary readings will offer students an introduction to and means of exploring recent developments in critical theory and practice, including psychoanalysis, Marxism, feminism, post-structuralism, and New Historicism. Although all students will be responsible for the entire reading list, each of you will be asked to select a particular literary work to concentrate on and research more thoroughly, with the hope that you will thereby be able both to enrich class discussion and to write a substantial and informed final essay. Requirements for the course are full and devoted participation, brief in-class reports on particular critical approaches or theoretical perspectives, and a final essay. (Mullaney)
Section 009 – AMERICAN DOCUMENTARY FILM. A close study of mainly United States documentary film, plus some photographs, written documents, and theater. Among the questions we will address are the nature and range of the form, the responsibility of the documentary artist, the relation of the documenter and documented, methods of empowering normally marginalized people to do their own documenting, the politics and economics of documentary, access of documentary to mainstream and other distribution. Most of the following films will be studied: NANOOK OF THE NORTH, THE RIVER, HEART OF SPAIN, SALT OF THE EARTH, TITICUT FOLLIES, NO VIETNAMESE EVER CALLED ME NIGGER, SALESMAN, GREY GARDENS, PORTRAIT OF JASON, BROKEN RAINBOW, HEARTS AND MINDS, HARLAN COUNTY USA, THE SORROW AND THE PITY, ROSIE THE RIVETER, DARK CIRCLE, THE AIDS SHOW, and WITNESS TO WAR. Reading will include NOW LET US PRAISE FAMOUS MEN. Emphasis will be on discussion. There will be regular writing assignments and the final project will be small group production of video documentaries or other documents. (Alexander)
Note: There will be a lab fee required for this course, but we will use fewer texts. Therefore the cost of this section will be no more than of any other section of 417.
Section 010 – FITZGERALD AND HEMINGWAY. A careful reading, discussion, and critical analysis of selected short stories and major novels by F. Scott Fitzgerald and Ernest Hemingway. Works such as THE GREAT GATSBY, THE SUN ALSO RISES, TENDER IS THE NIGHT, A FAREWELL TO ARMS, THE LAST TYCOON, and FOR WHOM THE BELL TOLLS (perhaps) among others will be the subject and focus of the seminar. Class sessions will be primarily discussions of the texts, the critical reception, and a close textual reading. Two papers (one on Fitzgerald and one on Hemingway). Some time will be spent on the social and cultural background of the twenties and thirties that helped to shape and identify a new style and approach to American fiction. Regular attendance and participation in the seminar spirit are expected; there will be a midterm and a final exam to pull things together as an overview of the writers and their works. (Eby)
Section 011: GENDER AND POETICS IN THE RESTORATION AND 18TH CENTURY. This course will explore how the cultural construction of gender influences and is influenced by the central aesthetic and historical preoccupations of Augustan poetry. We will study both male and female poets in detail (Philips, Behn, Milton, Dryden, Rochester, Killigrew, Pope, Swift, Finch, Montagu, Thomson, Cowper, Dixon, Johnson, Smart, Collins, Gray, Blake, Hemans, Wordsworth and others), focusing on three central problems: women writers and female voice as part of Restoration politics and "Augustan" poetics; how and why distinctly "male" and "female" poetic traditions arise in the 1750s; and the resulting shifts in poetic language and subjectivity in the later 18th century. Three papers, one emphasizing primary, historical research. (Barash)
Section 013: PROFESSIONAL SEMESTER. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.
423. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU). May be repeated for credit.
Section 001 – ADVANCED FICTION. This is an advanced fiction workshop in the short story and novel for students who have experience writing fiction. You will be expected to write a minimum of 50 pages of fiction, attend class, read and critique others' writing, and attend readings by visiting writers. No exams or books, but you will incur some copying costs. Evaluation will take into account your meeting the above expectations. For admission, get on the waitlist at CRISP, and come to the first class with a sample of your fiction. Admission and overrides are granted only during the first week of the Fall Term. (Holinger)
427. Playwriting. Permission of instructor. (3). (HU). May be repeated for credit.
English 427 is designed for the serious student of dramatic writing. Students are required to complete a minimum of one full-length play or two one-act plays by the end of the term. In addition, there will be a number of weekly assignments, designed to strengthen or enhance understanding of dramatic structure. This course is recommended only for those with experience and interest in writing for the stage. Those meeting the basic requirements must interview with Mr. Stitt to gain admittance. There will be a sign-up sheet posted in 2635 Haven Hall no later than April 6, 1987. Interviews will be held in September before the start of classes. Students should also put their names on the waitlist at CRISP. (Stitt)
430. The Rise of the Novel. (3). (HU).
The novel is at once innovative and traditional, and has been so from its beginning. We shall start by looking at some of the predecessors of the novel; it would be helpful for students to have some familiarity with the epic (ILIAD or ODYSSEY) and the romance (Dante's DIVINE COMEDY or Spenser's FAIRIE QUEENE). Such works form the idealistic foundation from which the novel often makes satiric departures, and there will not be time in the course to study them properly. In the course itself we will read both parts of Cervantes' DON QUIXOTE and works drawn from such early English authors of fiction as Defoe, Swift, Richardson, Fielding, Smollett, Sterne, Walpole, Goldsmith, Burney, and others. Students interested in women writers may make some special arrangement for the reading list in this course, as women were more than usually influential in the development of the novel. Writings will consist chiefly of brief shared notes on the reading, with perhaps two fairly short papers and a final examination. Class meetings will consist chiefly of discussion; all students are expected to be regular and active participants in class meetings. Students who cannot meet this expectation should not take this course. (Cloyd)
431. The English Novel from Dickens to Conrad. (3). (HU).
We will read eight major nineteenth century English novels in this course. That means, among other things, that students will have to do some serious reading during the long (i.e., summer) vacation. Our general theme as we study will be that of social criticism, which includes the function of the imagination in understanding the world we live in as well as a critical examination of that world. We will work with such things as techniques of narration and the craft of fiction as well as thematic issues, but we will not be concerned with the jargon of theoretical criticism. Our focus will be on literature and society, not on ourselves as readers. Daily scribbles, two papers, and a final exam. Class attendance and participation, serious thought, lots of reading, and good writing are required. Our novels are these: Dickens, DAVID COPPERFIELD (1849-50; Penguin); Trollope, BARCHESTER TOWERS (1857; Penguin); Dickens, OUR MUTUAL FRIEND (1864-65; Penguin); Eliot, MIDDLEMARCH (1871-72; Norton), Hardy, THE MAYOR OF CASTERBRIDGE (1866; Penguin); James, THE PRINCESS CASAMASSIMA (1866; Penguin); Conrad, THE SECRET AGENT (1907; Anchor). Please use the editions listed. We will study the novels in the order listed above. (Hornback)
432. The American Novel. (3). (HU).
Why do American writers express the subtlest philosophical issues through violent and melodramatic actions? Why do they create characters who aren't quite people, plots which interrupt themselves so often that they aren't quite stories, environments that are not the streets and houses we know, and endings that are not resolutions or answers so much as disturbing open questions? We will wrestle with these problems in an attempt to define what is unique about American fiction. At the same time, our primary focus will be on each work in terms of itself. The course will proceed ahistorically, by concerns rather than dates. This is a tentative listing of those concerns and the writers and works we will consider. Frontier as Metaphor: Hawthorne (Stories), Twain (HUCKLEBERRY FINN), James (DAISY MILLER), Barth (END OF THE ROAD). Thinking the Self into Being: Chopin (THE AWAKENING), Fitzgerald (THE GREAT GATSBY), Mailer (AN AMERICAN DREAM). Ontological Insecurity, or Anxiety and Power: Melville (BENITO CERENO), James (TURN OF THE SCREW), Faulkner (THE SOUND AND THE FURY). We will move forward and back in time to identify literary and experiential issues that have seemingly permanent status in American lives. The course will combine lectures and discussions. Two papers and a final examination will be required. (Weisbuch)
433. The Modern Novel. (3). (HU).
This course offers a study of the "modern novel" in English as represented by the work of four British and four American writers: James' THE TURN OF THE SCREW, Forster's HOWARDS END, S. Anderson's WINESBURG, OHIO, Toomer's CANE, Woolf's TO THE LIGHTHOUSE, Ford's THE GOOD SOLDIER, Hemingway's IN OUR TIME, and Laurence's THE DIVINERS. The conduct of the course will depend on a mixture of lectures and class discussion – the latter predominating. Students will submit written exercises of a variety of lengths to total ca. 5000 words. There may be a final examination. Students ought to have had at least one 200-level course in English or American literature. (Powers)
434. The Contemporary Novel. (3). (HU).
This course will be a study of the Postmodern Novel, and will explore Postmodernism along two different axes: as a reaction against Modernism, and as a reflection of current social and cultural conditions. In order to formulate a definition of Postmodernism, we will first begin with two Modern works: PORTRAIT OF THE ARTIST AS A YOUNG MAN and TO THE LIGHTHOUSE, along with a few classic analyses of Modernism, like Ortega's THE DEHUMANIZATION OF ART. We will then read a range of Postmodern fiction, respecting the divergence of contemporary "avant-garde" fiction; Donald Barthelme, SNOW WHITE; Thomas Pynchon, GRAVITY'S RAINBOW; Don Delillo, PLAYERS; Angela Carter, THE PASSION OF NEW EVE; Calvino, IF ON A WINTER'S NIGHT A TRAVELLER; Milan Kundera, THE BOOK OF LAUGHTER AND FORGETTING; John Berger, PIG EARTH; Toni Cade Bambara, THE SEABIRDS ARE STILL ALIVE; Margaret Atwood, THE EDIBLE WOMAN; Jayne Anne Phillips, MACHINE DREAMS. In the middle of the term we will spend two weeks on Postmodern literary theory, since the connections between recent theory and fiction are mutually illuminating, and we will probably read Roland Barthes, S/Z; and Jonathan Culler, ON DECONSTRUCTION. The theory will be discussed largely in relation to issues generated by the novels, but some background in philosophy would help. Three papers, one long and two short, final exam. (Kucich)
440. Modern Poetry. (3). (HU).
In this course we shall study the major poetry in English of the period 1900-1940. Our principal subject matter will be work by the most important poets – Thomas Hardy, W.B. Yeats, T.S. Eliot, Ezra Pound, D.H. Lawrence, H.D., W.C. Williams, Marianne Moore, Robert Frost, Hart Crane, Wallace Stevens, W.H. Auden – but we will also devote some time to special topics like Imagism, the poetry of The Great War, and the Harlem Renaissance, as well as to the social, historical, and literary backgrounds of modern poetry. The objective of the course is a clear understanding of the techniques and themes of modern poetry, which are especially significant because they continue to influence and inform the poetry of our own time. The format is lecture and discussion. Requirements include two papers, a take-home midterm, and a final examination. (Goldstein)
443/Theatre 321. History of Theatre I. (3). (HU).
See Theatre and Drama 321. (Ferran)
445. Shakespeare's Rivals. (3). (HU).
This course, which satisfies the requirement for a course in a subject before 1800, is a study of the chief comic writers of the English renaissance. While Jonson will occupy much of our attention, other dramatists will be included as well. Among them will be such writers as Lyly, Greene, Marston, Dekker, Middleton, and even an anonymous writer or two. Students will be expected to attend class regularly and contribute to the frequent class discussions. From time to time, I shall be presenting more or less formal lectures. Grades for the course will be based on each student's total effort in the class. Formal requirements will include at least one long essay and two briefer writing assignments, a midterm and a final examination, and participation in the work of the class. This work may include an end-of-term production of a selected play or of scenes drawn from a variety of plays. (Jensen)
447. Modern Drama. (3). (HU).
This course will consider the origins and development of modern drama with special attention to the problems of writing for a performing arts medium. Using the plays of Ibsen, Chekhov, Strindberg, Shaw, and Brecht, attention will be focused on the problems of enactment and staging, the uses of new theater space and technology, and the considerations of genre, style, and structure as they inform the dramatization of theme and idea. No previous experience as a reader of dramatic literature is necessarily required. Course assessment will be based on the writing of two term papers, a midterm, and a final examination. (Brater)
455/MARC 455. Medieval English Literature. (3). (HU).
Although this course is not intended to be a survey of the literature of the time, we will read a variety of texts starting with the early BEOWULF and ending with selections from Malory's MORTE D'ARTHURE, written at the end of the Middle Ages. In between we will read some lyrics and plays, but the main emphasis will fall on works by Chaucer's contemporaries: SIR GAWAIN AND THE GREEN KNIGHT, THE PEARL, PIERS PLOWMAN, and perhaps CONFESSIO AMANTIS. This course will satisfy the departmental requirement for a course in literature before 1800. It will be a discussion course. There will be in-class exercises, two hour exams, perhaps a paper, and a final exam at the scheduled time. (Lenaghan)
461. English Romantic Literature. (3). (HU).
This course in English Romantic Poetry will focus on Blake, Wordsworth, Shelley and Byron. It will inquire into some of the major issues raised in their poems and criticism – the social role of the poet, the nature of language, the nature of the creative imagination. It will attempt to see Romanticism in its historical context and in its relation to modernism. There will be some lecturing but more often a discussion of the reading. Two papers and a final examination. (Schulze)
471. Nineteenth-Century American Literature: Key Texts. (3). (HU).
A survey of nineteenth century American fiction, non-fiction, and poetry up until the Civil War. The course will identify important cultural dilemmas and opportunities facing American writers of this period, most notably the emergence of a national culture, the question of a truly "democratic" literature and what this means, the impact of slavery as well as other explosive issues of the time. Authors to be studied include Hawthorne, Poe, Melville, Cooper, Thoreau, Whitman, and Dickinson. Requirements: two short papers, midterm, and final exam. (Larson)
473. Topics in American Literature. (3). (HU).
SECTION 002 – NATIVE AMERICAN LITERATURE. In Fall Term, 1987, this section is jointly offered with American Culture 498, section 002. (Le Beau)
SECTION 003 – THE NEW YORK INTELLECTUALS: POLITICS and CULTURE. In Fall Term, 1987, this section is jointly offered with American Culture 498, section 004. (Wald)
SECTION 004 – CHICANO LITERATURE. In Fall Term, 1987, this section is jointly offered with American Culture 498, section 003. (Zimmerman)
482. Studies in Individual Authors. (3). (HU). May be repeated for credit with department permission.
Section 001 – JOSEPH CONRAD AND JAMES JOYCE. James Joyce and Joseph Conrad will be treated as two quite different but clearly extremely influential pioneers of classic modernism in the novel. The course will examine the various ways in which their treatment of character and society, the form and style of their novels, and their major thematic preoccupations have contributed to the distinctive approaches of novelists in the 20th century. Joyce and Conrad, along with Flaubert, Dostoevsky, and Henry James, provided the formal foundations as well as the ideological premises on which the modern novel was created. A study of their work is, therefore, a valuable preparation for further studies in 20th century literature. Texts will include some of the major works of the two authors. ULYSSES will be read in its entirety. Two papers will be required. The method will be primarily lectures with class discussion. Students wishing to enroll should have a genuine interest in modern literature and should not expect the approach to be introductory or elementary. (Aldridge)
Section 002 – JOHN DONNE. Donne – for the nervous and troubling energy of his verse, its vividness and demanding, unconventional metaphor – is regarded as the major English poet of the seventeenth century next to Milton. Reading all the best of his poetry, we shall see him also as the poet who felt and reacted to the dissolution of the Medieval-Renaissance view of the unity of the world in which it could truly be said, as he said, that no man is an island entire unto itself. For fullness of the picture, we shall read a good measure of his prose: selections from his DEVOTIONS and one of the sermons for which, the greatest of English preachers, he was most famous in his own day. We shall compare him to Elizabethan predecessors, to other poets also dubbed "metaphysical" and to his opposite number Ben Jonson, investigate some links with drama, consider the odd history of his reputation and his rediscovery by modern critics. Lecture and discussion. Two bluebooks, two short essays, a take-home two-essay final. (Creeth)
489/Educ. D 440 (School of Education). Teaching of English. See School of Education Bulletin. (3). (HU).
Section 001 – PROFESSIONAL SEMESTER. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.
493. Honors Survey: Nineteenth Century English Poetry. Admission to the English Honors Program. (3). (Excl).
This course will study romanticism and its consequences through three generations of poets: first Blake, Wordsworth, and Coleridge; then Keats, Shelley, and Byron; and finally Browning, Tennyson, and Arnold. Discussion and informal lecture will raise issues like the function of imagination, the role of the poet in society, the nature of literary "influence," and the tension between poetic form and visionary or emotional content. This course is part of the Departmental Honors sequence and normally open only to those enrolled in that program. Written work will consist mainly of a short paper or midterm, a longer paper, and a final exam. (Bornstein)
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