For all English classes, registered students must be present at each of the first two meetings to claim their places. Any student who does not meet this requirement may be dropped from the course. NOTE: If you must miss a class due to religious observances, contact the instructor or leave a message for the instructor with the department (764-6330).
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 490-001. Reading, Writing and Criticism in the Teaching of English. (7 credits). (This is the equivalent of English 325 plus English 417. Concurrent election of English 491/Education D491 and English 305 is required.)
English 491/Education D491. Teaching English-Methods and Practicum. (5 credits).
(This is the equivalent of Education D440 and Education 307. Concurrent
election of English 490 and English 305 is required.)
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 Education D491 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. Students should keep MW 4-5 open for tutoring under Ed D491. 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. English 325 offers the opportunity for work in argumentative and expository prose at a more advanced level.
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 (Playwriting), English 323 (Fiction or Poetry), English 423 (Fiction), English 427 (Playwriting), and English 429 (Poetry). 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 224 Angell Hall. 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.
CSP section available. See Comprehensive Studies Program (CSP) section in the guide.
167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).
This is a composition course, not a "Shakespeare" course; our principal concern will be the development of writing skills, though our approach to the writing will be by way of reading and discussing some Shakespearean plays and also some other short texts. If you complete the course successfully you will have satisfied the underclass writing requirement. There will be a one time mandatory lecture for all sections on Monday, September 11, 7-9 PM. Discussion sections will meet the first week of classes.
PRIMARILY FOR FRESHMEN AND SOPHOMORES. Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed. A full course description will be available in 224 Angell Hall after March 27, 1989.
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 8 to November 4). English 220 will be offered only during the first half of the Fall 1986 Term, and students must be enrolled before the Fall 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. The course is repeatable once, for a total of four hours' credit.
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, 224 Angell 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 work of 35-50 manuscript pages may be required. All sections of English 223 will have course descriptions available for reference in 224 Angell Hall after March 21st.
SECTION 005 – The first third of the term is devoted to the reading and writing of poetry. The rest of the term is spent on fiction. Students comment responsibly on one another's work, maintain journals, attend readings, and produce seven or eight poems and twenty-five to thirty pages of fiction. (Ezekiel)
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. Students should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.
SECTION 002. Work in class will be devoted to discussion of particular works of fiction. The aim of discussion will be to enhance your understanding and appreciation of literature. We will read both short stories and novels. In addition to the final exam, there will be short written exercises and papers, with perhaps a midterm. (Lenaghan)
SECTION 003 – Mr. Micawber says that he reads David Copperfield's novels "with delight, with entertainment, with instruction." We will attempt to do the same thing as we read seven great novels – including David's autobiography – and a volume of short stories. Our aim is to read fiction critically and intelligently. We will concern ourselves with such things as the novelist's understanding of the world around him, and how he deals with it; the role of the artist in society, selfishness and selflessness; and the meaning of happiness. Our reading list will include the following books: Dostoevsky's CRIME AND PUNISHMENT (Vintage), Solzhenitsyn's ONE DAY IN THE LIFE OF IVAN DENISOVICH (Mentor), Emily Brontë's WUTHERING HEIGHTS (Penguin), Jane Austen's EMMA (Penguin), James Joyce's DUBLINERS (Penguin), Ralph Ellison's INVISIBLE MAN (Vintage), Evelyn Waugh's DECLINE AND FALL (Dutton), and Dickens' DAVID COPPERFIELD (Penguin). Please use the editions indicated; books have been ordered from Shaman Drum Book Shop, on State Street. Course requirements include three papers, daily in-class "scribbles," group reports on DECLINE AND FALL, and a final exam. Daily attendance and participation expected; optional Wednesday night discussions at my home. For Honor students only. (Hornback)
SECTION 008. The emphasis in this section will be upon the novel. The instructor believes in the broadening experience in an age of visual media of an imaginative recreation in the mind of the reader from printed words of a story of some magnitude. Students who wish a little light reading should elect another section. We shall read two big nineteenth century novels, Dickens' GREAT EXPECTATIONS and Dostoevsky's CRIME AND PUNISHMENT, Chopin's THE AWAKENING, Faulkner's THE SOUND AND THE FURY, and Morrison's SULA plus four short stories by Chopin and one by Hemingway and one by Faulkner. Two bluebooks, two 1,000 word essays and a take-home final will establish a floor grade which may be raised by good class participation and success in frequent quizzes. (Creeth)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
SECTION 001. This course is a reading workshop, in which we will practice the kinds of analysis and appreciation that poetry invites. We will read a range of poems from different periods and consider the different aspects of the poet's craft: the uses of meter to give rhythm to speech, rhyme and alliteration, metaphor and other forms of figurative language. We will also explore ways in which poets create individual voices for individual poems, as well as ways in which they control tone. The end of the term will be devoted to the work of a single poet. Although this course is a prerequisite for the English concentrator, non-concentrators are welcome. Discussion format. Requirements include: regular attendance and participation, three or four short papers, and regular brief assignments. Texts will be ordered through Shaman Drum Bookshop, 313 S. State. (Garner)
SECTION 002. In this section I will take a traditional approach to poetry, emphasizing form, imagery, and meaning. We will read well-known poems from a broad range of English literary history, medieval through modern, and will also look at some poems that are off the beaten track. I anticipate giving frequently interrupted lectures at the beginning of the term, but as we move along I expect to serve more as a guide who poses tough questions. Requirements: class attendance and participation based on careful reading; quizzes and discussion panels; short written analyses every week; a final exam. Text(s) to be announced. (Crawford)
SECTION 003. This course is a prerequisite for concentrators in English. Its purpose is to improve one's skill in close reading and appreciating poetry. We will study a variety of poems from the Renaissance to the present, chosen to exemplify poetic modes and techniques as well as various period styles. Class sessions will be devoted to discussion and will rely heavily on active participation: regular attendance, therefore, is mandatory. A number of short papers – some in-class – will be assigned, and one longer term paper. Some memorization of poems will be encouraged and rewarded. (Beauchamp)
SECTION OO4. The work in the course includes these: (1) reading and rereading of assigned poems; (2) many short "overnight" written paragraphs and exercises based on assigned poems; (3) some short in-class impromptu written pieces; (4) at least one group project; (5) recitation to the class of at least fifty lines of memorized poetry; and (6) regular participation - at least twice weekly – in a computer course conference. There will be a handful of interruptible lectures during the term; most of the class meeting time will be given to discussion, often in small groups. (Van't Hul)
SECTION 005. This course introduces students to the varieties of poetic composition and to various approaches of reading poetry. Although the course is not a historical survey, the first part will give students a sense of the different forms, genres, traditions, and conventions used by poets throughout history while exploring some of the most common modes of analyzing poems. The second part will focus on the work of four poets with different poetic sensibilities and cultural backgrounds. While giving close attention to these poets' prosody and form, voice and rhetoric, theme and ideology, we'll also consider how other influences, such as public reception, publication media, and historical/political context, can contribute to the meaning and significance of a poet's work. There will be several short analytical essays and a longer term paper. (Ross)
SECTION 006. This course aims to introduce students to a wide range of English poetry, studying both its thematic concerns and its form characteristics. We will read and discuss poems grouped by theme for most of the term, and spend the last two weeks on an intensive reading of Wallace Stevens. Throughout the course, emphasis falls on close reading of and analytical writing about poetry. Four papers, various informal exercises, and a final exam. Texts are the NORTON ANTHOLOGY OF POETRY, THE PALM AT THE END OF THE MIND (Stevens), John Hollander's RHYME'S REASON, and M.H. Abram's GLOSSARY OF LITERARY TERMS. (Krook)
SECTION 007. This course, a prerequisite for concentrators in English, is an introduction to English and American poetry. In this section, students will read a wide variety of poems drawn from the NORTON ANTHOLOGY OF POETRY. I shall be organizing the course according to poetic kinds or themes, working chronologically within each category. Occasional brief lectures will serve to direct and focus discussion, which will be the primary method of instruction. Student responsibilities in the course include the following: three or four in-class writing exercises, one or two oral reports, a long end-of-term essay, and a final examination. Regular class attendance is required, and each student's contribution to class discussion will be a factor in the assignment of grades. (Jensen)
SECTION 008. This course is intended for anyone wishing to increase his or her enjoyment and understanding of poetry. Through a wide range of poems we will explore both the ways in which poems work and the ways we can understand and improve our responses to them. After an introduction to poetic analysis using very short poems, we will progress chronologically from Shakespeare to the present, emphasizing particularly the last two centuries and ending with an in-depth study of one major modern poet (W.B. Yeats). Class discussion and occasional informal lectures will focus primarily on close reading of individual texts, but students should also emerge from the course with some grasp of the historical development of poetry in English. Frequent exercises and short papers, the last of which will serve as a final exam; no prerequisites. The text will be THE NORTON ANTHOLOGY OF POETRY, 3rd edition. This section is primarily for students in the Honors Program. (Bornstein)
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. Participation in a computer conference is a required part of the course. A major object is to enable students 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. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," one or two formal papers of analysis, and a midterm and a final. Class proceeds by discussion. Text is the complete NORTON ANTHOLOGY OF POETRY. (Zwiep)
SECTION 011. This course introduces students to the forms and conventions
of poetry as they have established themselves in English over the last seven
hundred years. It also introduces students to methods of analysis and interpretation.
Student participation in class discussion will be essential. There will
be several papers, a midterm and final examination. We will use THE NORTON
ANTHOLOGY OF POETRY and will read many more poems than we have time to discuss
in class. The pleasures of poetry are multiplied by knowledge. (Schulze)
SECTION 012. Work in class will be devoted to discussion of particular poems selected from THE NORTON ANTHOLOGY OF POETRY. The aim of the discussion will be to increase your understanding and appreciation of poetry. The first objective will be to develop some common questions on analytic approaches. Then we will spend a few weeks discussing poems mainly for reading practice. In the final weeks we will read a number of poems by one poet. There will be a midterm, a short paper or two, in-class exercises, and a final examination. (Lenaghan)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 211. (Walsh)
270. Introduction to American Literature. (3). (HU).
SECTION 001. This course will survey 19th and 20th century American literature, mostly the fiction. Writers to be studied include: Hawthorne, THE SCARLETT LETTER and stories;, Melville (stories);, Twain, HUCKLEBERRY FINN; Kate Chopin, THE AWAKENING; James, PORTRAIT OF A LADY; Dreiser, SISTER CARRIE; Wharton, THE HOUSE OF MIRTH, Fitzgerald, THE GREAT GATSBY; Hemingway (stories) and Faulkner, GO DOWN MOSES. Two short (5 page) or one long (10 page) paper will be assigned. There will be a midterm and a final exam. (Beauchamp)
SECTION 002. This course offers an introduction to the literature of the United States in various modes: prose fiction, drama, and poetry. We will read four novels: Twain's ADVENTURES OF HUCKLEBERRY FINN, Kate Chopin's THE AWAKENING, Faulkner's LIGHT IN AUGUST, and James Baldwin's DESIRE UNDER THE ELMS. There will be brief introductory lectures for each writer; the principal conduct of the course will depend on class discussion. Students will write several brief essays; there may be a final examination. (Powers)
SECTION 003. In this course, a somewhat out of the ordinary approach to literature in the United States will be taken. Generally, an introductory course provides an overview of already familiar names and texts. Here, however, our strategy will differ in that we will leaven some of these well known names with those less celebrated. Emerson and Whitman, known to us all, may be represented by works less widely read; we might for example, examine the former's speeches on abolition and the latter's poetic cycle on the Civil War. The sentimental stories of Lydia Maria Childs, John Augustus Stone's hit play "Metamora, or the Last of Wampanoags," the frontier novels of Fenimore Cooper, the dialect stories of Paul Laurence Dunbar; all or some of these may be included in an introduction to our national writing that encompasses as well as investigates both "lowbrow" and "highbrow" tastes. One exam and two short papers. (Zafar)
280. Thematic Approaches to Literature. (3). (HU).
SECTION 001. POWER AND PLACE AND LITERATURE. Power in literature derives its charge from the tension between character and place. Exploration of the individual's relation to society is the historical mission of the novel. Power corrupts, or it perfects personal freedom. Exile liberates or disenfranchises. More than a geographical location, place in literature is a psychological or emotional region made up of the details, feelings and mood of a community. The course considers the novel as the point or place where myth and reality fuse, where story begins to overstep the limits of verisimilitude. Among a variety of approaches to its theme, the course explores power as the "spirit" of the novel. Exemplary texts include novels and short stories by Émile Zola, Leo Tolstoy, D.H. Lawrence, F. Scott Fitzgerald and James Baldwin. (Belton)
SECTION 002. A WRITER'S APPROACH TO CONTEMPORARY FICTION. This course is based in part on the premise that writers approach a text in a different manner than other readers. Writers often read with an eye on themselves as well as on the page; they both experience a text and observe their own experiencing. They're interested in analyzing the techniques employed by the author and the effects engendered by those techniques, for writers are always trying to learn from other writers. In this course, then, we will read, discuss, and write about contemporary fiction from a writer's perspective. An eclectic reading list of contemporary short stories and novels will include fiction by authors who will visit the campus. Students will be required to attend readings or talks given by visiting writers and will have the opportunity to meet and talk with these visitors. There will be quizzes on the reading, three or more papers (students will develop their own topics), and possibly a final exam. (Holinger)
SECTION 003. COMIC RESPONSES TO CATASTROPHE. We will study a selection of modern literature which takes thematic material traditionally treated with "high seriousness" and casts it in an essentially comic mode. The reading will be post-World War II fiction and drama which keeps us laughing all the way to the grave. We will, by reading these works closely, try to determine how and why they are comic and further, try to define and describe the nature of comedy. We will read 9 or 10 books (some fiction; some drama) by SOME of these authors: Roth, Stoppard, DeVries, Wallant, Pynchon, Toole, Bellow, Duerrenmatt, Barth, Allen, Nabokov, DeLillo, Albee, or several others. We may also see and study a film or two. In addition, students will read a 4-page anthology of comic theory from Plato and Aristotle to Al Capp and Stephen Sondheim. The class will be mostly discussion (if size, or lack thereof, encourages it) and eminently interruptible informal lecture. Requirements are two 5-7 page papers, one in-class essay exam, and an essay final. The course is suitable for anyone who enjoys reading literature, analyzing it, talking and writing about it – while discovering why we laugh at other people's pain. (Bauland)
285. Introduction to Twentieth-Century Literature. (3). (HU).
Close reading of poetry, novels, and short stories – the majority written by Americans since 1945 – will be our means of introduction to 20th century literature. I have chosen each poem, novel, and story because I like to read it, because I think you will like to read it too, and because I think it has significance for our contemporary world. The eight novelists we are most likely to read are Faulkner, Hemingway, Ellison, Morrison, Household, Maclean, LeCarre, and LeGuin. We will use anthologies of short fiction and poetry, with the work of Alice Fulton as the focus for our reading of poetry. Each class but the first and last will open with fifteen minutes of writing to a question assigned during the preceding class. These frequent, brief papers will together form half the grade of the course. Two 5 page papers will form the other half. No midterm or final. (Fader)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (Excl).
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 goals of this course are a) to engage students in books that are enjoyable and instructive and b) to help them learn to write more effectively and with increased pleasure. The books come from a number of different cultural traditions and most are from the twentieth century. The papers will deal with the books' meaning to the student; there is considerable flexibility in the choice of topics. A book and paper will be required about every two weeks. About one-third of the lectures will deal with effective writing. The remainder will explore the meaning of the books. Both word processing and regular participation in a computer-based course conference are required. For students who do not know the CONFER system on MTS, there will be mandatory training at the beginning of the term. The computer conference is an important tool for increasing communication among participants in a large-enrollment class. (Meisler)
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. Short papers invite exploration of domains of language use. (Bailey)
308. History of the English Language. (3). (HU).
Where did the English language come from, and what linguistic and other forces helped shape it into the language as we use it today? This course will cover the development of English, from the earliest times when Germanic peoples first settled in Britain, through the language of Chaucer and then Shakespeare, and up into the modern period. The first major theme of the course will be to investigate the internal linguistic history of the language: what sort of language English was at each stage, and what changes it went through. The second major theme will be the external history: the connection between language change and historical events, social structure, and cultural factors such as literacy. This is a lecture course with class discussion. Work will include participation in class discussions, frequent short homework assignments, a midterm, and a final. No college level classes in English language study are prerequisite to this course, but a rudimentary knowledge of modern English grammar, or a willingness to learn something about it in the course of this class is strongly recommended. (Wiegand)
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
SECTION 001. Britain's rapid ascendancy in the transatlantic slave trade generated great profits for investors, spurred British Naval and overland exploration, and opened new markets for British manufacturers. Of course, many Britons were uneasy about the source of these new commercial and colonial benefits. This course will examine the importance of the various and often contradictory images of Blacks in 18th-century English literature. These images influenced the period's slavery debate. We will read ORONOKO, ROBINSON CRUSOE, JONATHON WILDE, Pope's ESSAY ON MAN, JOHNSON'S RASSELAS, and other works to alert to the ways in which they support or question European domination of other ethnic groups. Readings include novels, poems, essays, and polemical pamphlets concerning the trade. This course fulfills the pre-1800 requirement for English concentrators. (Artis)
SECTION 002. This course will explore how and why early writers define acceptable and unacceptable human sexual behavior. We will examine a wide range of materials – selections from the Bible, Ovid's erotic writing, Augustine's CONFESSIONS, Chaucer's CANTERBURY TALES, Margery Kemp's BOOK, and Spenser's FAERIE QUEENE – alert to the ways in which these and other writers support, modify, or undermine accepted norms of sexual expression. Two short papers (5 pages), a few quizzes, and a final examination. This course fulfills the pre-1800 requirement for English concentrators. (Tinkle)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
SECTION 001. This course will focus on the interaction between women writers and women readers. In looking at women writers we will consider how they adapt ideas, forms and themes to their own purposes. This consideration will include how different authors use similar material to different effects, how writers of various time periods simultaneously conform to and resist the constraints imposed upon them and how they portray women as subjects rather than objects in literature. Among the authors to be included are: Brontë, Gilman, Chopin, Rhys, Woolf, Olson, Morrison, and Erdrich. In conjunction with this consideration of women writers, we will look at women readers. Central to this investigation will be questions such as how women decide what to read, what influences their critical views of literature, and the extent to which their reading takes the form of resistance. Course requirements include three short papers, a midterm and a final exam. Students will also be expected to keep a reading journal throughout the term and to participate actively in class discussions. (Gere)
SECTION 002. EIGHTEENTH AND NINETEENTH CENTURY WOMEN WRITERS. In this course we will explore the position of the woman writer in English culture from the late seventeenth to the late nineteenth century. Reading poetry, fiction, and other kinds of literary traditions and the social conditions to which they responded, we will consider how women writers confronted a number of issues: the relations between gender and literary genre; the relationship between sexuality and writing; the cultural construction of "femininity" in relation to class and nationalism. The writers we focus on may include: Aphra Behn, Katherine Phillips, Anne Finch, Mary De La Riviere Manley, Lady Mary Wortley Montagu, Charlotte Lennox, Fanny Burney, Ann Radcliffe, Jane Austen, Mary Shelley, Charlotte Brontë, Emily Brontë, Elizabeth Barrett Browning, Christina Rosetti, George Eliot, Olive Schreiner. Class members will have opportunities to lead class discussions and give oral presentations. There will be three papers (one very short, two longer) and a final exam. (Pinch)
316. Intellectual Problems in Literature. (3). (HU). May be repeated for credit with department permission.
LITERATURE AND PREJUDICE. Political powers both use and ban aesthetic works because their images are so powerful. Sexism, racism, and anti-Semitism, among other prejudices, employ biased images or stereotypes to do their evil. Is there a morality of the image or the word? Does art create or perpetuate prejudices? Or does art arm us against stereotypes? What is the ethical relation between works of art and prejudice? We will explore three prejudices and their words and images (sexism in 19th century European painting, racism in civil rights America, and Nazi anti-Semitism) and conclude by trying to formulate some practical answers about the problems of prejudice in art and about our own personal responsibility concerning it. Works include Arendt's EICHMANN, Baldwin's BLUES FOR MR. CHARLIE, Lanzmann's script for SHOAH, R. Shaw's MAN IN THE GLASS BOOTH, civil rights documents, and selections by Kant, Arthur Miller, Sartre, Tolstoy, and others. Requirements: two short papers and a take-home final. (Siebers)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
SECTION 002. Doctor, lawyer, merchant, professor – they have English in common with all of us; and each uses a specialized "language" that is Greek to most of us. The purpose of the course is to study the language behavior of lawyers and judges (and of witnesses and juries in their company). In the course: (1) Brief attention to how the lawyers' language "got that way"; (2) Study of lexical and syntactic features of lawyers' language in today's spoken (court room) and written (legislative and judicial) uses; (3) Extensive reading and discussion of Melinkoff's book THE LANGUAGE OF LAW and J.B. White's THE LEGAL IMAGINATION, an ample anthology of course pack essays and chapters by legal, psychiatric, and socio-linguistic scholars and some short fiction; (4) Some interruptible lectures – some of these by guest experts in law and related professions; and (5) Many short written exercises, weekly or bi-weekly papers, a midterm and a final exam. (Virtually all of the assigned writing is to be entered on CONFER, a computer conference.) NB: The course will NOT raise any student's score in LSAT or comparable quizzes; it will NOT equip students for applying to or competing in any school of law. REGULAR participation in the Course (Computer) Conference is an UNWAIVABLE requirement for credit in the course. (Van't Hul)
SECTION OO3. LITERATURE AND CULTURE: JEWISH LITERATURE IN AMERICA. By examining fiction and poetry written by Jews in the United States, this course will consider the confrontation of American myths with Jewish ones. How is an ethos based on the individual combined with one based on community? What do we mean by ethnic literature in America? How are varying cultural perspectives reconciled in the literature? We will try to answer these and other questions by reading texts written by immigrants and later generations. (Some of these works were originally written in Yiddish, but knowledge of Yiddish is NOT required for this course.) Among the authors to be read are: Jacob Glatshteyn, H. Leivick, Anna Margolin, Anzia Yezierska, I.B. Singer, Henry Roth, Delmore Schwartz, Bernard Malamud, Saul Bellow, Cynthia Ozick, Philip Roth, Grace Paley. In addition to weekly reading assignments, there will be a final and two 4-6 page papers. (Norich)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
SECTION 001. LITERARY TYPES: FANTASY. This course will explore the nature and uses of fantastic narratives from the beginning of the nineteenth century to the present, drawing texts from such widely different fields as fairy tales, science fiction, and the so-called New Novel. No special background in literature is required. The written work for the course will proceed on a contract-like basis involving weekly short papers, an optional longer paper that may be written in substitution for two of the shorter papers, and an objective final exam. Texts include: HOUSEHOLD STORIES OF THE BROTHERS GRIMM (1812-1815), Dover; TALES OF E.T.A. HOFFMANN (1809-1822), U. of Chicago Press, ppr; THE PORTABLE POE, 1835-1849), Viking, selections only; THE ANNOTATED ALICE, (1865-1872), Lewis Carroll, NAL, ppr; THE ISLAND OF DR. MOREAU (1896), Signet, ppr. and BEST SCIENCE FICTION STORIES, Dover, ppr. H.G. Wells; THE COMPLETE STORIES, Franz Kafka (1915), Schocken, ppr; THE CAVES OF STEEL, Isaac Asimov (1953), Fawcett; THE ERASERS, Alain Robbe-Grillet (1953), Grove; THE TOLKIEN READER, (1949-64), Ballantine, selections only; THE PHANTOM TOLLBOOTH, Norton Juster (1961), Random House, ppr; COSMICOMICS, Italo Calvino (1965), Harbrace; THE DEAD FATHER, Donald Barthelme (1975), Penguin, ppr; WOMAN ON THE EDGE OF TIME, Marge Piercy (1976), Fawcett, ppr. Supplementary texts (recommended but not required): THE FANTASTIC IN LITERATURE, Eric S. Rabkin (1976), Princeton U. Press, ppr; THE FANTASTIC, Tzvetan Todorov (1970), Cornell U. 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. (Chrisman)
323. Creative Writing. Junior standing and written permission of instructor. (3). (Excl). May be repeated for credit.
SECTION 001. INTERMEDIATE FICTION WORKSHOP. This is an intermediate fiction workshop for students who have taken English 223. Processes of writing and revision, and techniques of fiction, will be examined through reading and discussion. Most of our class time, however, will be spent in workshop, commenting on student manuscripts. Students will be expected to write at least 50 pages of fiction, attend class, read and critique others' writing and attend readings by visiting authors. No exams will be given, though quizzes may be; evaluation will take into account the above requirements and expectations. There will be two or three required texts and possibly a course pack. Students will also incur copying costs. For admission to this section, get on the Wait List at CRISP and bring a sample of your fiction to the first class; overrides are given out only during the first week of the term. When going through early registration, note that admission to any upper-level writing course is a chancy proposition and should not be counted on. (Holinger)
SECTION 002. FICTION WORKSHOP. English 323 is an intermediate fiction writing workshop. The writing experience and basic elements of narrative technique will be explored. We will consider a number of literary texts by established authors, developing a deeper understanding of how a literary text works. The course finds its primary focus, however, in the generation and discussion of new work by workshop participants. Enrollment is by permission of the instructor. All students interested in taking the course must get on a Wait List at CRISP and then come to the first class meeting with a sample of their fiction. The manuscript should reflect a student's best recent work. The submitted manuscripts will be collected and considered and before the second scheduled class meeting, a list of the names of students accepted into the workshop will be posted on the instructor's office door. (Belton)
SECTION 003. POETRY READING AND WRITING WORKSHOP. This is a workshop for those who have written a good amount of poetry and who wish to continue the serious study and practice of their craft. Anyone taking the class should love to READ poetry as well as write it; immersing oneself in the work of published poets is the best instruction. Although much of our time will be spent discussing poems by workshop participants, we'll also read and analyze the work of selected contemporary poets, some of whom might give readings here. There will be weekly exercises on various aspects of poetic form and content. You will be asked to give a presentation (or write a short paper) on the work of a contemporary poet from a list I'll provide; to attend and evaluate several assigned poetry readings; to keep a notebook; and to submit a final portfolio of at least 13 pages of new poetry written during the term. Several books are required, and there might be quizzes on the assigned reading from time to time. You will also incur some copying costs. Evaluation will be based upon your contributions to discussions; attendance (in class and at readings); completion of weekly exercises; quizzes; the oral presentation; and your portfolio. Those who wish to join should get on the Wait List at CRISP. Then bring a writing sample (of three to five poems) to class on the first day. I will post a list of those selected before the next class meeting. (Fulton)
SECTION 004. Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately fifty (50) pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. Students who want to enroll in the course should get on the Wait list at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. (Ezekiel)
SECTION 005. CREATIVE WRITING AND OTHER ARTS. A course in mixed media composition, especially combinations of poetry, drama, and fiction with graphic arts, painting, music, dance, and photography. Prerequisite: experience with one or more of these art forms and interest in exploring their relations with other forms of art. Permission of instructor to be obtained before CRISP registration by conference during office hours (posted on door of 2617 Haven Hall). (Wright)
329. Practical English. (4). (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. Writing Requirement for non-concentrators. Required text: Hodges' HARBRACE COLLEGE HANDBOOK. (Rabkin)
355. Core I (Great English Books). (4). (Excl).
SECTION 002. We'll be reading some of the best literature in English from the earliest period through the mid-17th century. Texts are THE WANDERER and SIR GAWAIN AND THE GREEN KNIGHT in translation; Middle English selections from Chaucer's CANTERBURY TALES and from Malory's MORTE D'ARTHUR; Book One of Spenser's FAERIE QUEENE; poems by Sidney, Shakespeare, Donne, and Herbert; Jonson's VOLPONE; and selections from Milton's PARADISE LOST. Themes that surface include the spiritual journey, courtly love, and free will. I'll provide lively historical and intellectual background, help with the language, and ideas for discussion. Requirements: class attendance and participation based on careful reading; quizzes and discussion panels; three short, offbeat essays; a final exam. Texts: THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. I; small course pack. (Crawford)
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, and PARADISE LOST. Mostly discussion, occasional lecturing; oral presentations by student panels; modest attempts at staging two of the plays. Frequent short papers, one longer paper, 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, SIR 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 Marlowe'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, 5th ed., Vol. I. (Creeth)
SECTION 005. We will begin with Chaucer (selections from the CANTERBURY TALES) and end with Milton (PARADISE LOST). Readings along the way will include SIR 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, possibly some in-class writing, a midterm and a final examination. (Knott)
SECTION 006. This course regards literature of the medieval and Renaissance periods, our earliest literature in English. It doesn't aim to be a survey, in any completeness, even of the most important works of that long span of time, but it will invite you, while taking Chaucer, Milton, and some of the great plays of medieval and Renaissance as its central reference, to read and range in this varied and delightful literature. Specifically, we will read selections from Chaucer's CANTERBURY TALES, selections from Milton's PARADISE LOST, a half-dozen medieval and Renaissance plays; SIR GAWAIN AND THE GREEN KNIGHT; some of Spencer's FAERIE QUEENE; a miscellany of lyric poems and prose selections. I'll use THE NORTON ANTHOLOGY OF ENGLISH LITERATURE (Volume I, current edition), one book to keep down costs to you. Because the literature in many ways appeals directly to us I hope you will be pleased to enjoy it on sight, but because it comes from a world long past one or two background studies will be assigned, and there will be some lecturing to make the work accessible in its time. I plan to ask you to write rather short papers five or six times, to a total of some 25 pages. There'll be one hour examination and one final examination. (McNamara)
SECTION 007. This course is the first of the 3 course sequence required for those who concentrate in English literature. We will examine major works from the Middle Ages and the Renaissance, including selections from Chaucer's CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, THE SECOND SHEPHERD'S PLAY, Marlowe's DR. FAUSTUS, Shakespeare's HENRY IV, PART I, and Milton's SAMSON AGONISTES. Our focus will be on the many roles of the artist in conveying social values. Discussion and lecture, two brief papers (3 pages) and one longer (7 pages), midterm and a final. Text is THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, Vol. I. (Tinkle)
SECTION 008. In this course we will read and discuss some major English authors and works from the Middle Ages and the Renaissance. Texts we will read include BEOWULF, SIR GAWAIN AND THE GREEN KNIGHT, parts of Chaucer's CANTERBURY TALES, a medieval play, Marlowe's DR. FAUSTUS, a Shakespeare play, and parts of Milton's PARADISE LOST. The course is the first in the core sequence required for English concentrators. Instruction will be by lecture and discussion and grades will reflect the student's participation in class as well as performance in a midterm and final examination, and in several papers on assigned topics. (McSparran)
SECTION 009. After a brief look at Old English poetry (in translation), we shall spend several weeks reading Chaucer's CANTERBURY TALES (in Middle English), then SIR GAWAIN AND THE GREEN KNIGHT, a medieval play, and selections from the mystical writers Margery Kemp and Julian of Norwich; a few ballads and many Renaissance lyrics; one canto of Spenser's FAERIE QUEENE; an Elizabethan play; and finally long selections from Milton's PARADISE LOST. Much of this literature is remote from us, culturally and linguistically, yet it can be read, enjoyed, and even loved with some effort. Much of it is truly great, so it will be worth that effort. My job as teacher will be to make sure you know all you need to know to understand the texts, to be open to your concerns, needs, and interests, and to lead discussion. Yours will be to read carefully, to come to class regularly and ready, and to be willing to memorize 32 lines of poetry, to write 3 short papers, to take a final exam; and as this all begins, to buy THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, Vol. I, and a small course pack. (M. Smith)
356. Core II (Great English and American Books). (4). (Excl).
SECTION 001. A wide-ranging course covering three periods: English literature from the Restoration and the Eighteenth Century (1660-1790); English literature from the Romantic period (1790-1830); and American literature before the Civil War (1800-1860). Students should have already taken at least English 240 (Introduction to Poetry) and English 355 (Great English Books). Authors taught in this section of Core II will include John Dryden, Aphra Behn, Alexander Pope, Anne Finch, Jonathan Swift, and John Gay; William Wordsworth, Samuel Taylor Coleridge, John Keats, Jane Austen, and Mary Shelley; Nathaniel Hawthorne, Herman Melville, Walt Whitman, and Emily Dickinson. Genres will include poems, plays, and novels, but there will be strong emphasis on poetry. Our aim will be to develop skills in close reading, but there will also be significant emphasis on the historical, political, cultural, and intellectual contexts in which these works were written; musical and visual materials will often be a part of class work. Heavy reading assignments, four class meetings each week, three short analytical essays, midterm, final examination. (Winn)
SECTION 002. The course will move from English neo-classicism to English romanticism to American post-Puritan and modernist romanticism. The chief writers studied are Austen, Pope, Swift, Fielding, Blake, Wordsworth, Hawthorne, Melville, Dickinson, and Emily Brontë. We begin with Austen's PRIDE AND PREJUDICE as an instance of classical values before moving back in time to Pope, Swift, and Fielding. Then we read a goodly selection of English romantic poetry, Hawthorne's tales and THE SCARLET LETTER, Melville's MOBY DICK, Dickinson's poems and letters, and Brontë's WUTHERING HEIGHTS. Three short essays of about 5 pages each, and a final exam. (McIntosh)
SECTION 003. The way to avoid vertigo in surveying the diverse materials written in England and America from 1660 to 1850 is to keep one's eye on a fixed point. For this term, and in this section, that fixed point will be the intersection of ideas of community and of literary form. These ideas, both in England after the Cromwellian interlude and in America, a nation in construction, were burningly pertinent, and treated in satire, lyric, drama, epistle, essay, novel, and epic. The communities envisaged were to cohere on the basis, for example, of revelation or rational assent, common ethical values, or shared emotion. We will read and discuss to satisfying depth, then, some of the most engaging, urgent, and dazzlingly accomplished works of art in the Western tradition(s). We will read works by such authors as Dryden, Pope, Addison, Swift, Edwards, Johnson, Wordsworth, Shelley, Austen, and Whitman. Students will each be asked to examine alongside these works one or two others from the period which question the major canonical tradition from one vantage point or another. The course will observe, then, with special insistence, the ways in which these developing societies explored their own bases and the literary forms which are developed to contain that exploration. Class requirements: consistent attendance, careful reading, intent discussion, three short essays (4-6 pages), a midterm and a final examination. (Williams)
SECTION 004. This is the second of the three Core courses required for English concentrators, covering English and American literature 1660-1850. The readings will, I hope, fall naturally into several kinds of balance that will help us appreciate a period that at first glance appears fundamentally imbalanced. Moving beyond some initial pairings – poetry/prose, English/American, Black/white, male/female – we will, with luck, perceive additional joinings (and leavings) that illustrate the ways people understood a world that was at best "harmoniously confused." Authors to be read include Whitman, Blake, Douglass, Defoe, Pope, Dickinson, Swift, Wordsworth and Keats. There will be several short (5-7 pages) papers, a midterm and final exam. (Artis)
SECTION 005. In this course we will read representative works of English and American literature from the late seventeenth to the mid-nineteenth century. Texts will include Wycherley, THE COUNTRY WIFE; Defoe, ROXANNA; the poetry of Alexander Pope; Richardson, PAMELA; the poetry of Wordsworth and Keats; Jane Austen, PERSUASION; Mary Shelley, FRANKENSTEIN; and the work of two of the following: Douglass, Hawthorne, Whitman, Dickinson. Through close reading and active discussions, we will work towards interpretations of individual texts. We will also, however, be reading these works in relation to each other, tracing issues and themes (for example, literary representations of gender) throughout the term in order to study the relationships between literary form and historical change. There will be a brief (2-3 page) ungraded paper at the beginning of the term, three papers of 4-6 pages, and a final exam. (Pinch)
SECTION 006. A course covering selected literary movements, figures, and works in England and America between 1660 and 1850. We will focus on poetry and fiction, and will explore a range of topics: satire in a world of social and literary change; views of the imagination; literary appropriations of the natural world; traditionalism and innovation in literary form; differences in literary sensibility between England and America; gender, race, and canon representation. Authors will include: Etherege, Pope, Swift, Fielding, Wordsworth, Coleridge, Keats, Percy Bysshe and Mary Shelley, Brontë, Hawthorne, Thoreau, Whitman, Dickinson, and Douglass. Lecture/discussion format. Requirements include: regular attendance and participation, two papers (5-7 pages) with outlines and formal revisions, midterm and final examination. Texts will be ordered through Shaman Drum Bookshop, 313 S. State. (Garner)
SECTION 007. The second of three Core courses required of English concentrators, this course focuses on English masterpieces from the Restoration to the Romantic period and on the American masterpiece of 1851, MOBY DICK. The English writers considered will be Dryden, Pope, Swift, Fielding, Austen, Wordsworth and Shelley. Classes will be a mixture of lecture and discussion, and demand close reading of the texts assigned. There will probably be a midterm and two papers in addition to a final examination. (Schulze)
SECTION 008. This course, second in the course sequence for English concentrators, surveys central authors from the mid-17th to the mid-19th century. To focus our reading, we will follow the changing conceptions of what it means to be human. We will begin with Milton's SAMSON AGONISTES, to explore the tension between following one's own instincts and what outside forces such as religion and society dictate. To examine this conflict between internal and external values, we will read a variety of literary forms – drama, poetry, and fiction - that express alternating perspectives. The tortured searching of Milton's Samson gives way to the satire and cynicism of 18th century drama. Pope's ordered world view contrasts to the Romantics' reliance on impulse and the imagination. The continual redefinition of the self shifts in its relation to a social world as we move from Defoe's individualists to Hawthorne's transgressors to Austen's and Brontë's empowered heroines, to Dickens' comic solitaries. Readings will be selected from the works of the following authors: the drama of Congreve or Sheridan; the poetry of Milton, Pope, Wordsworth, Keats, or Whitman; the novels of Defoe, Austen, Mary Shelley, Charlotte Brontë, or Dickens; and the short stories of Hawthorne, Melville, or Poe. The class will be conducted as a mixture of lecture and discussion, with emphasis on the latter. Requirements include regular class attendance, 2 papers, a final exam and short weekly written responses to the readings. (Wolk)
357. Core III (Great English and American Books). (4). (Excl).
SECTION 001. This is the third in the series of Core courses, covering major writers from the late nineteenth through the twentieth century. With an attempt at comprehensiveness we will read poetry by Tennyson, Yeats, Eliot and Lowell; novels by Trollope, Woolf, and Narayan; short stories by Joyce and Hemingway; plays by Shaw and Beckett. (The reading list is tentative.) The course will emphasize close reading and class discussion. Requirements: midterm, final, two papers. (Zwiep)
SECTION 002. A study of great books involves, presumably, a study of literary greatness. But how are we to define (or even begin to talk about) such artistic excellence? What, to further complicate the question, may be the relations between the "good," the "bad," and the "ugly" (the difficult or shocking) literature of a period? Throughout this course we will consider outstanding examples of English and American writing from 1850 to the present, attempting both to better understand the nature of selected works and to pursue the taunting issue of evaluation. Our goal will be to develop the skills of close, appreciative, and critical reading. In general, lectures will be introductory, setting a context for the class' discussions of writers such as Melville, Whitman, Dickens (George) Eliot, Tennyson, Browning, Wilde, Joyce, Stein, Hemingway, Pynchon, and others. We will also make use of a heterogeneous course pack. Students may expect to write two short papers, a midterm, a longer paper, and a final exam. Everyone should be willing to contribute to lively class debates. (Leon)
SECTION 003. This course will examine works by British and American writers from the mid-1800s to the present day. Texts by male and female authors generally will be read in pairs in order to raise issues concerning the formation of a literary canon, the differences between Victorian, modern and post-modern literature, and the significance of race and gender within literary studies. Novels will probably include: Brontë's WUTHERING HEIGHTS, Eliot's ADAM BEDE, Conrad's HEART OF DARKNESS, Woolf's TO THE LIGHTHOUSE, Faulkner's AS I LAY DYING, Morrison's THE BLUEST EYE, and Pynchon's THE CRYING OF LOT 49. Additional readings may include plays by Shaw and Churchill, poetry by R. Browning and C. Rossetti, Eliot and Bishop. There will be two 5-7 page papers, a midterm and a final exam. (Vrettos)
SECTION 004. This course will attempt to illustrate themes, techniques, and developments in English and American literature since about 1870, concentrating on a relatively small number of authors. The tentative list of authors includes the poets Browning, Tennyson, Arnold, T.S. Eliot, Wallace Stevens, and Auden (peripheral attention also to some of Arnold's and some of Eliot's criticism). Shaw play may be included. Possible novels to be read: George Eliot, MIDDLEMARCH; Hardy, JUDE THE OBSCURE; Lawrence, WOMEN IN LOVE; Woolf, TO THE LIGHTHOUSE; Fitzgerald, TENDER IS THE NIGHT. Classes will concentrate on a discussion of the readings, only rarely using lectures, which are always informal and interruptible. Three short papers (on subjects students choose), a midterm and a final examination. (Gindin)
SECTION 005. This course is primarily designed to complete a three-sequenced series of core classes for the English concentrator, but those students interested in the serious study of the literature written near the end of the nineteenth and continuing throughout the twentieth century are heartily welcomed. The theme of the course is "TOWARD THE VOID." The literature studied will reflect both the social issues of the times and each author's unique shaping of that material. Emerging patterns will lead us to explore the idea that from a time of somewhat agreement in values, both society and the individual will grow weary and skeptical: from optimism will arise a sense of darkness, of irony, of the "void" at the center of our worlds. We want to read closely, not only to see what an author says, but how she or he says it. Thus, our readings will often focus on the dynamics of the imaginative process. Moreover, if we begin this term finding ourselves reading rhythmically, somewhat slow, understated works, we will progressively end with the potentially explosive energy of S. Beckett's ROCKABY, M. Norman's 'NIGHT MOTHER, J. Fowle's FRENCH LIEUTENANT'S WOMAN, and J. Irving's CIDER HOUSE RULES. The format of the course will be discussion and more discussion; the focus will be on the exchange of ideas. The requirements of the class will include two thoughtful and analytical essays (10 pages), a short weekly response to a text, and a comprehensive final exam. The reading list will include selections from works by Browning, Dickens, Hardy, Conrad, James Faulkner, Lawrence, Joyce, Yeats, T.S. Eliot, H.D. Wang, Toni Morrison, G. Naylor, M. Atwood, and A. Tyler. (Back)
SECTION 006. An overview of English and American literature from the Victorians to the present. The course will be organized around several topics: the relation between art and society; gender and sexual conflict; and attitudes toward selfhood. We will examine pivotal changes in these topics during the mid-nineteenth century, the Modern period, and contemporary or postmodern culture. Very tentative reading list: poetry by Browning, Tennyson, Eliot; works by Charlotte Brontë, Charles Dickens, Mark Twain, Margaret Atwood, James Joyce, Jean Rhys, Donald Barthelme, Toni Cade Bambara, Maxine Hong Kingston. Two papers, midterm and final. (Kucich)
SECTION 008. 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. Works include 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 will focus on reading Shakespeare with an eye toward performance. Students will become acquainted with techniques of playwriting and conventions of tragedy and comedy as they apply to Shakespeare's work. Plays to be studied include: HAMLET, OTHELLO, A MIDSUMMER NIGHT'S DREAM, RICHARD III, MACBETH, KING LEAR, MEASURE FOR MEASURE, CORIOLANUS, and THE WINTER'S TALE. This is a lecture course, but class sessions will also rely on several video productions for illustrative material. Student evaluation will be based on written assignments as well as examination. (Brater)
SECTION 002. In English 367 we shall read a representative sampling of Shakespeare's best plays. "Representative" means attention to comedy, tragedy, history, and romance – the kinds Shakespeare worked in. Here is a tentative syllabus: ROMEO AND JULIET, A MIDSUMMER NIGHT'S DREAM, HENRY IV PART ONE, HAMLET, MEASURE FOR MEASURE, KING LEAR, and THE TEMPEST. I don't have a particular method of approach, and I don't concentrate on special themes or topics. The idea is to go through the plays as intensively as possible, with an eye to getting pleasure from them. No special background is required. You don't need to be an English concentrator. I would not want to discourage anyone who cares about literature from taking the course. But a friendly word of caution: the material is demanding, and maybe you will find the approach is demanding, too. If you don't mind extending yourself, this may be a good course for you, but not if grades are the end-all and be-all. Instruction will be by lecture/discussion. Assuming that the class turns out fairly large, it will be difficult to elicit informal discussion. I intend to try however, and will count on student collaboration. You can expect spot quotation quizzes on the plays, two short papers, a midterm and a final. You must take all the quizzes to be eligible for a passing grade in the course. The course will depend on an averaging (not strictly quantified) of your written work, plus an estimate of your performance in class. The texts will be the Signet paperback series, one volume to a play. (Fraser)
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)
392. Honors Survey: Renaissance English Literature. Admission to the English Honors Program. (3). (Excl).
This course, the second in the English Honors sequence, is designed to be taken concurrently with English 391. Our master narrative will be the remarkable, sometimes violent, intersection of Renaissance humanism and Protestant Reformation in Tudor and Stuart England. Our particular texts will include (from the narrative mode) More's UTOPIA, Spenser's FAERIE QUEENE, Milton's PARADISE LOST; (from the drama) Marlowe's JEW OF MALTA, Shakespeare's OTHELLO, Tourneur's REVENGER'S TRAGEDY; (from the lyric mode) selections from Sidney, Ralegh, Herrick, Donne, Marvell. Two short essays, one final paper. (Gregerson)
406/Ling. 406. Modern English Grammar. (3). (Excl).
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 and sentences) and we will discuss how these structures contribute to the expressive potential of the system. There will be daily practice in grammatical parsing weekly quizzes, 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/Film-Video 412. Major Directors. (3). (HU). May be repeated for credit with department permission.
SECTION 001 – JOHN HUSTON AND JOHN FORD. We will make a careful analytical study of major films spanning the careers of these two complementary eclectic American masters, one working . essentially outside the studio system, the other within it. Our focus will be on the cinematic "languages" and the dramatic themes of these directors, the relationship between what they say and how they say it, their styles, their content, and their contexts. I will post the exact schedule of films outside my office (2627 Haven Hall) before the beginning of the Fall Term. There will be one film per week, two lecture classes (one of these two hours), and mandatory small discussion groups, scheduled at your convenience. English 412 may be repeated if content is different from a previous election; there are no prerequisites. Nevertheless, the course is not "An introduction to the movies." Previous work in film theory, history, mechanics, critical analysis, and aesthetics couldn't hurt. Should film study be new to you, I will be happy to recommend preparatory reading before you leave for the summer vacation. 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). An obligatory lab fee (ca. $20) covers the cost of seeing films. Some reading (Giannetti's UNDERSTANDING MOVIES or an alternate text if that is old news to you) and rigorous writing (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)
SECTION 002. The Swedish film director Ingmar Bergman has made, during the past 35 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)
416/Hist. 487. Women in Victorian England. (4). (Excl).
This is an interdisciplinary course using history and literature to explore the position of women in Victorian England (1837-1901). You may receive either English or History credit. The Victorian age in England saw some of the most culturally repressive attitudes toward women, but also some of the strongest efforts to emancipate women. These extremes coincided with the first industrial revolution, and a time of great disparities in wealth and poverty. We will explore the stereotypes of the ideal woman, and the many responses to her; the struggle to improve women's education and to open the professions; the living conditions and lives of rural and urban working women; and such general issues as sexuality, crime and prostitution. Readings will include a course pack, three novels, an autobiography, critical essays of the times and modern interpretations. Requirements include one paper, one annotated bibliography and a final exam. (Vicinus)
417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (3). (Excl).
NOTE: ENGLISH 417 SHOULD BE ELECTED BY SENIOR ENGLISH CONCENTRATORS ONLY. English 417 along with the Core courses meets the Junior-Senior writing requirement for English concentrators ONLY. Please ADD the ECB MODIFICATION for 417 AT CRISP.
SECTION 001. 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 a longer paper. (Wright)
SECTION 002. LITERARY APPROACHES TO THE BIBLE. We will read widely in the Revised Standard Version of the Hebrew Bible (Old Testament) and the New Testament, explore the history of this text, and examine various critical approaches to the Bible, ancient and modern. Along the way we will address questions such as why the Bible as we have it became sacred and what its sacredness consists in; where the Bible gets its authority and what its authority consists in; how authors read and use it; how critics read and use it. Two short papers, a long paper, a final, in-class presentations, regular attendance and participation. (Krook)
SECTION 004. REPRESENTATIONS OF THE FRENCH REVOLUTION. This year, the 200th anniversary of the fall of the Bastille, is a good time to review some of the most important texts that represent or reflect the immediate impact of what is sometimes called the most significant event in modern history. By doing so we may be able to formulate answers to the following questions: How should we assess the presence of historical events and personalities in literary discourse? By what rhetorical means do writers recruit us to their political belief? We will analyze the persistent structures, themes, symbols, metaphors – in short, attitudes and perspectives – relating to the Revolution in the work of writers of the 1790s such as Blake, Wordsworth, Coleridge, Burke, Paine, and Wollstonecraft, as well as later writers like Byron, Dickens (A TALE OF TWO CITIES), and Carlyle, and French writers in translation. We shall leap forward to one or two recent texts, such as MARAT/SADE, on the same subject. Each student will give a brief oral report and keep a journal of readings and reflections. Three papers, a midterm and final examination. (Goldstein)
SECTION 006. COMPARATIVE LITERATURE: THE THEORY AND THE FICTION OF OTHERNESS. We will read comparatively in the literature of imperialism and colonialism in this senior seminar, and do so from a variety of texts whose contexts will range from Euripedes' Greece (THE TROJAN WOMEN) to Wole Soyinka's Nigeria; from Rashid Hussein's Palestine (SELECTED POEMS) to Rudyard Kipling's Asia and Alejo Carpentier's America(s), his EXPLOSION IN A CATHEDRAL. Among the (con)texts through which we will explore issues related to language and identity and to categories, or constructions, of gender, class, and race are Michelle Cliff's and George Lamming's Caribbean, Albert Camus' Algeria (THE STRANGER), and Africa in Mark Twain (KING LEOPOLD'S SOLILOQUY), Saul Bellow and Joseph Conrad. In addition, we will course pack excerpts from Columbus' diaries, from Leon Portilla's redaction of Aztec chronicles of "The Conquest" of Mexico, and from Puritan New England's captivity narratives. The principal texts that will get us started with paradigms and prototypes and motifs are the following: Shakespeare's THE TEMPEST (and the various readings that it has generated out of South America, Africa, and the Caribbean); Audre Lorde's non-western "Open Letter to Mary Daly" (in THIS BRIDGE CALLED MY BACK); French feminists Helene Cixous' and Julia Kristeva's readings of the "Dark Continent" and of China respectively; and from Ghana, Ama Ata Aidoo's novel, OUR SISTER KILLJOY, REFLECTIONS OF A BLACK-EYED SQUINT. (Johnson)
SECTION 008. AMERICAN WOMEN POETS IN THE EIGHTIES. A senior seminar on women poets now. Discussions will focus on the close analysis of formal and thematic qualities; among the recurring themes – both of the texts and of the course - will be the relationship of poetry and experience, particularly the experiences of gender, race, and family. The syllabus is likely to include the following writers: Gwendolyn Brooks, Rita Dove, Alice Fulton, Tess Gallagher, Colleen McEllroy, Heather McHugh, Sharon Olds, Adrienne Rich, May Swenson. Jan Montefiore's FEMINISM AND POETRY – a book that usefully examines the notion of "experience" - will be assigned, along with course pack material ranging from additional poems to critical essays, from personal statements by poets to material on writing about poetry. THE METHUEN HANDBOOK ON METRE, RHYME AND FREE VERSE by G.S. Fraser or John Hollander's RHYME'S REASON is recommended. Requirements include attendance, weekly one-page commentaries, attendance at two poetry readings followed by brief written reports, a short paper (4 pages) and a final paper (10 pages). (Ellison)
SECTION 009. AMERICAN DOCUMENTARY FILM. A close study of mainly United States documentary films, plus some photographs, written documents, and theatre. Among the questions we will address are the nature and range of the form, the responsibility of the documentary artist, the relation of the documentor and documented, methods of empowering normally organized people to do their own documentary, access of the documentary to mainstream and other distribution. The following films, and many others, will be studied: NANOOK OF THE NORTH, FURY IN THE PACIFIC, NATIVE LAND, SALT OF THE EARTH, HIGH SCHOOL, NO VIETNAMESE EVER CALLED ME NIGGER, SALESMAN, PORTRAIT OF JASON, MARJOE, HEARTS AND MINDS, HARLAN COUNTY USA, THE SORROW AND THE PITY, ROSIE THE RIVETER, and THE AIDS SHOW. 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. (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 any other section of 417.
SECTION 010. THE PRACTICE AND THEORY OF CULTURAL CRITICISM. Though pursued by a growing band of specialists, the critique of "culture" remains a strikingly unregimented activity. It attracts sociologists, historians, philosophers, anthropologists, psychologists, literary critics, and others. Through this seminar we will explore the diversity of current investigations while studying the theories (or conceptions) that support them. We will also attempt to account, historically, for the nature of the cultural self-consciousness of the last several decades. While over half of our time will be devoted to the 20th century, we will read major 19th century critics at length, consider 18th century revolutions in historical reflection, browse through Renaissance explorers' narratives, and follow Herodotus on his excursions into Egypt and Babylonia. Students may expect readings (some necessarily brief) in Voltaire, Herder, Carlyle, Comte, Arnold, Marx, Ruskin, Weber, 20th century Modernists and Avant-Gardists, the "Frankfurt School," (Raymond) Williams, Barthes, Foucault, Geertz, and others. The seminar culminates in a significant, imaginative research paper (15-20 pages) – one first aired as a class presentation. Students will also be expected to contribute to discussions by preparing, on occasion, brief commentaries on the reading. (Leon)
SECTION 011. MAJOR NOVELS OF WILLIAM FAULKNER. This course will focus on a study of the background, genesis, and composition of probably four novels, culminating in a close reading of the texts and discussion and the writing of papers developing from this whole process. The novels will probably include LIGHT IN AUGUST, THE SOUND AND THE FURY, ABSALOM, ABSALOM, GO DOWN, MOSES. This course, required of all English concentrators, will treat the backgrounds and genesis of Faulkner's work and then go on to a close reading of the novels mentioned above. Classes will involve both lecture and discussion, and the written work will include two papers and a final examination. Each student will present one of the papers in class. (Blotner)
SECTION 012. SAMUEL BECKETT. Although Beckett is largely known as the author of a landmark play, WAITING FOR GODOT, this seminar will examine his artistic accomplishment as a writer of BOTH drama and fiction. The accent will be placed on the relationships between the two genre as they inform the meaning of his work as a whole. After reading exemplary works selected from Beckett's "classical" period, class sessions as well as writing assignments will be based on the problematic late works for stage and prose. This is a class about problems of genre, close reading, and experimental writing. (Brater)
SECTION 013. ELIZABETHAN CULTURE AND THE FAERIE QUEENE. Our primary text will be Edmund Spenser's allegorical romance, THE FAERIE QUEENE. We will read one additional essay per week, surveying the broadest possible range of critical approaches to Spenser's poetry and the culture of which it was a part. Our concerns will include the politics of genre; the gendering and engendering of the subject; colonialism, exile, and romantic "error" in the construction of national identity; the status of the poetic icon in the age of Reformation iconoclasm; the mimetic imperative entailed in the ideals of courtliness, "kind"ness, and Christian chivalry; the dialogics of patriarchal power and patriarchal poesis during the reign of the Virgin Queen. Two essays, two oral reports. (Gregerson)
423. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.
SECTION 001. Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately fifty (50) pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. Students who want to enroll in the course should get on the Wait List at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. (Ezekiel)
SECTION 002. This is a workshop for fiction writers of promise and experience. Requirements include a final portfolio of at least 50 pages of fiction, close study of a collection of contemporary fiction, attendance at University-sponsored readings, and avid class participation. Interested students should place their name on the Wait List at CRISP, and come to the first class meeting with a writing sample of their fiction. A list of those accepted will be posted on the instructor's office door before the next class meeting. (Hagy)
425. Advanced Essay Writing. Open only to seniors and graduate students. (3). (Excl).
Although the essay will be the FORM of writing that will be our particular focus in this course because it is the most common shape of professional writing, the ACT of writing will be our central pursuit because it is essentially the same no matter what form it takes. Each member of the class will work both as a writer and an editor, the purpose of both being to make of each writer an editor able to meet his or her own needs. (Fader)
427. Playwriting. Permission of instructor. (3). (Excl). May be repeated for credit.
This is an advanced playwriting class in which students write their own plays, which are performed by theatre students. Students should have some previous experience in playwriting. Admission is by permission of instructor. Students interested in joining the class should put their names on the Wait List at CRISP AND leave their summer addresses with the English Department at 7611 Haven Hall. Students will be notified when more information becomes available.
429. The Writing of Poetry. Written permission of instructor is required. (3). (Excl). May be repeated for credit.
English 429 is an advanced workshop in the writing of poetry. It will be taught by Professor Charles Baxter, a well-known poet and fiction writer who will be joining the U of M English department in the fall. If you are interested in this course, put your name on the Wait List at CRISP and bring a sample of your poetry to the first day of class. (Baxter)
430. The Rise of the Novel. (3). (Excl).
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, Richardson, Fielding, Sterne, Walpole, Mary Shelley, Goldsmith, Burney, and Austen. As the reading list is long, former students recommend reading some books before the course starts: DON QUIXOTE, JOSEPH ANDREWS, THE VICAR OF WAKEFIELD, NORTHANGER ABBEY, EMMA are a list from which you might choose. Writings will consist chiefly of brief shared notes on the reading, participation in a computer conference 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). (Excl).
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 the 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, (1886), Penguin; James, THE PRINCESS CASAMASSIMA (1886), Penguin; and Conrad, THE SECRET AGENT, (1907), Anchor. Please use the editions listed; books have been ordered through Shaman Drum Book Store, on State Street. We will study the novels in the order listed above. (Hornback)
432. The American Novel. (3). (Excl).
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 and Moby-Dick), 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). (Excl).
This course offers a study of the "modern novel" in English as represented by the work of four British and four American writers; Kate Chopin's THE AWAKENING, Forster's HOWARDS END, F.M. Ford's THE GOOD SOLDIER, Jean Toomer's CANE, Hemingway's IN OUR TIME, Faulkner's LIGHT IN AUGUST, Malcolm Lowry's UNDER THE VOLCANO, and Margaret Laurence's THE STONE ANGEL or THE DIVINERS. The conduct of the course will depend on a mixture of lectures and class discussion – the latter predominating. Students will submit a number of written exercises of various lengths to a total of 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 to prepare for this course. (Powers)
434. The Contemporary Novel. (3). (Excl).
Although offered under the general rubric of "Contemporary Fiction," this course will differ from the standard such offering in several ways. First, it will attempt to survey; we will focus on nine or ten books. Though there will be considerable reading, the emphasis will be on close analysis. Second, the curriculum has been designed around authors who have agreed to participate in the class itself. The aim of the course is to provide the student as reader with a "living" sense of the writer – to have writers literally in the room with readers. Russell Banks, Rosellen Brown, Ethan Kanin, Jamaica Kincaid, Jay McInerney, Leonard Michaels, Tim O'Brien, Francine Prose and Hilma Wolitzer are scheduled to visit the campus next fall, to appear in class and then to offer public readings. (These readings will be scheduled directly after class; attendance is required.) Routinely, we will hold one class period devoted to the author prior to his or her arrival – focusing both on the range of the career and on the novel or story collection at hand. In the second session, the professor will serve as a kind of moderator while the students and "living writer" take center stage. We will talk about the distance between intention and execution, the difference in the perceived and actual achievement, the process of revision; we might discuss the history of composition, the habits of the particular writer, the vicissitudes of reception, etc. The flesh-and-bone presence of an author can render the experience and scrutiny both fruitful and vivid; intonation and intention come to life. Written questions submitted to each author will be part of the course work, as will be a journal and an essay. (Delbanco)
440. Modern Poetry. (3). (Excl).
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 - 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 midterm, and a final examination. (Goldstein)
443/Theatre 321. History of Theatre I. (3). (HU).
See Theatre and Drama 321. (Aronson)
445. Shakespeare's Rivals. (3). (Excl).
This course, which satisfies the requirement for a course in a subject before 1800, is a study of the chief dramatists of the English Renaissance. Among them will be such writers as Lyly, Greene, Marston, Dekker, Middleton, Jonson, Marlowe, Chapman, Webster, Tourneur 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). (Excl).
In this course we will be considering the most influential and interesting dramatists of the modern era, stopping at World War II (which is the time English 448, Contemporary Drama, begins). Our main objects of study will be Ibsen, Chekhov, Strindberg, Shaw and the earlier Brecht. But if time permits, we will also be looking at representative plays by O'Casey, Pirandello, Kaiser, Lorca, O'Neill and/or others. Grades will be awarded on the basis of two substantial papers and a final test, as well as verbal contributions in class. (Nightingale)
465/MARC 465. Chaucer: The Canterbury Tales. (3). (Excl).
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 interpretation, 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. Benson's THE WORKS OF CHAUCER, 3rd edition, is the necessary text. (Garbaty)
472. Twentieth-Century American Literature: Key Texts. (3). (Excl).
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 unite 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, Cervantes' EMPLUMADA, Cisneros' HOUSE ON MANGO STREET, Erdrich's LOVE MEDICINE, Baraka's DUTCHMAN AND THE SLAVE, Marshall's PRAISESONG FOR THE WIDOW, Walker's MERIDIAN, Fitzgerald's GREAT GATSBY, Ohada's NO-NO BOY, Naylor's WOMEN OF BREWSTER PLACE, Silko's CEREMONY, poetry by Rich and Denise Levertov. 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 the class. There will be opportunities for group and creative projects. (Alexander)
473. Topics in American Literature. (3). (Excl).
SECTION 001. AMERICAN INDIAN LITERATURE. This section is jointly offered with American Culture 498.001, for the Fall Term, 1989. (LeBeau)
SECTION 002. CHICANO LITERATURE. This section is jointly offered with American Culture 498.002, for the Fall Term, 1989. (Zimmerman)
477/CAAS 475. Early Afro-American Literature. Permission of instructor. (3). (Excl).
The first century of Black writing in America is far more various, interesting, and enjoyable than many critics have made it out to be. Recent developments in the archaeology of Afro-American letters have revealed a veritable gold mine of expressive writing hidden in the files of 19th century Black journals and newspapers. Yet many works of relatively unknown artists are available to be read with enjoyment now. Phyllis Wheatley, Olaudah Equiano, Frederick Douglass, William Wells Brown, and Frances E.W. Harper are but some of a host of writers we may encounter. Students eager to have a greater understanding of the classic writers of our century – Richard Wright and Toni Morrison, among others – will find these earliest expressions of Black American creativity fascinating both as a first act to the show of contemporary literature as well as a chorus of intriguing voices from the past. To know these forerunners of the Afro-American tradition is to comprehend the whole of the literature. Discussion, one exam, one paper, and a final exam or longer paper. (Zafar)
482. Studies in Individual Authors. (3). (Excl). May be repeated for credit with department permission.
JOSEPH CONRAD AND JAMES JOYCE. James Joyce and Joseph Conrad will be treated as two quite different but 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 fiction, and their major thematic preoccupations have contributed to the distinctive approaches of novelists in the 20th century. Joyce and Conrad, along with Flaubert, Dostoevskii, 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 but discussed in terms of its more prominent features on the assumption that students will be reading it for the first time and are not yet sophisticated scholars of the novel. Two papers will be required along with a final examination. The method will be primarily lectures with class discussion as it materializes. Students wishing to enroll should have a genuine interest in modern literature and, ideally, some acquaintance with the better-known works in the field. An excellent background course would be English 285, Introduction to 20th Century Literature. (Aldridge)
483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.
ANGLO-SAXON LITERATURE IN TRANSLATION. These texts date from when wolves roamed uncut woodlands, when tribal society was just settling into a feudal organization, when Northumbria was the center of European literature, science and the arts, and when the learned monks could report an annual invasion of dragons. Some of these texts were written in Latin, others in the Germanic language of the then recent invaders, English (Angle-ish), which we now call Old English. No knowledge of Latin or Old English is expected. Little understanding of the historical period will be assumed. Anyone curious about the deeper roots of our language and literature will be well served. Our readings will include BEOWULF, a few legal documents, some travel literature, at least one saint's life, a narrative about Satan, Bede's ECCLESIASTICAL HISTORY OF THE ENGLISH PEOPLE, battle narratives, love poems, riddles, charms, and gnomic verses. Required books will be paperback texts of BEOWULF and BEDE and a course pack. In lieu of a paper assignment, we shall have a series of directed exercises. A final exam will test comprehension of the readings and lectures. (Smith)
484. Issues in Criticism. (3). (Excl).
This will be an introductory survey to the major developments in literary theory over the past two hundred years, with particular emphasis on the revolutionary innovations of the past two decades. Major areas to be covered include Romanticism, Modernism, New Criticism, Structuralism and Post-Structuralism, Marxism and Feminism. Rather than just assimilating these various methodologies, however, we will continually apply theory to a set of basic questions about literature: What is a literary text? Who or what is an author? What is the difference between literature and propaganda? What are the differences between male and female writers/readers? Should the literary canon be revised or rejected? Expect to be challenged; everything you have been taught is called into question by theory. There will be four short papers, a midterm and a final exam. Most of the reading will be assembled in a course pack. Junior English Honor students are discouraged from enrolling because of overlapping material. (Kucich)
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 Robert and Elizabeth Barrett 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)
494. Honors Survey: Nineteenth Century English Fiction. Admission to the English Honors Program. (3). (Excl).
This course is part of the English Honors Concentration and may be elected only by students already enrolled in the program. It covers the development of the British novel in the nineteenth century, with special emphasis on the relationship between literature and culture. Texts will probably include Shelley's FRANKENSTEIN, Brontë's JANE EYRE, Eliot's MIDDLEMARCH, Hardy's TESS OF THE D'URBERVILLES, Dickens' OUR MUTUAL FRIEND, Thackeray's VANITY FAIR and Meredith's THE EGOIST. In addition, we will read excerpts from writings by Marx, Mahew, Darwin and Pater in order to consider the influence of political, economic, scientific and aesthetic discourse on the Victorian novel. Requirements will include two 5-10 page papers and a final exam. You may also be responsible for presenting an oral report at some time during the term. If possible begin one of the longer readings (MIDDLEMARCH, OUR MUTUAL FRIEND, or VANITY FAIR) over the summer. (Vrettos)
496. Honors Survey: Thesis and Comprehensive Examination. Admission to the English Honors Program. (3). (Excl).
SECTION 001. This course is restricted to students in the English Department's Honors Program and Alternate Honors Program. English 496 is used for the combination of thesis and comprehensive exam in Honors and for the thesis in Alternate Honors. (Gindin)
SECTION 002. This course is to be elected by students writing a thesis in the Alternate Honors Program this term. (Creeth)
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