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Note: You must establish a session for Fall Academic Term 2001 on wolverineaccess.umich.edu in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function. Courses in EnglishThis page was created at 11:09 AM on Thu, Oct 4, 2001. Fall Academic Term, 2001 (September 5 – December 21)Open courses in English Wolverine Access Subject listing for ENGLISH Fall Term '01 Time Schedule for English. What's New This Week in English. For a listing of the Fall 2001 courses that fulfill concentration requirements, please visit the English Dept. web site at: http://www.lsa.umich.edu/english/courses/f01/f01req.html 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 [(734) 764-6330]. WRITING COURSES:After taking or placing out of Introductory Compostion, students may elect English 225 for further practice in fundamentals of expository and argumentative prose. English 325 and 425 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. You may take either fiction or poetry, or you may take English 227-Introduction to Playwriting. 223 is the prerequisite to the more advanced creative writing courses 323, 423 or 429. Admission to these advanced course is by permission of the instructor, who may require writing samples. INDEPENDENT STUDY/INTERNSHIPS: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. Students interested in independent study should obtain an application from the English Department office on the third floor of Angell Hall. Independent study proposals must be approved by a supervising professor and by the Undergraduate Chair of the department. The deadline for Independent Study in the Fall Term 2001 is September 26, 2001. Occasionally a student will have an opportunity to work with a compnay or institution as an intern. As a result, the English department has decided to offer their concentrators one academic credit for student internships. Applications will be considered and approved by the Undergraduate Director. You may pick up an application form in 3187 Angell Hall. ENGLISH 239 & 240239-What is Literature and, 240-Introduction to Poetry are the two prerequisite courses to the concentration in English. 223-Creative Writing is added when doing the subconcentration in Creative Writing. There are many program paths a student can choose in English, which include the subconcentration in Creative Writing(non-Honors,Honors), English and Education Certification, and Honors in English. For further information on these programs and program plans in English, contact a concentration advisor in English by calling the main office at: (734) 764-6330. English 350 & 351This two-term sequence is designed to give students a principled sense of the range of literary works written in English; the first term will characteristically deal with works produced before the later seventeenth century - to the time of Milton, that is; the second term will begin at that point and proceed to the present. These courses will be open to English concentrators and to non-concentrators alike. English 370, 371, & 372Each of these courses will range over the materials of the periods indicated below in one or more of a variety of ways. Some may be multi-generic surveys; some may focus on the development during the period of specific genres; some may be topical, others formal in their principle of organization. All sections will emphasize the development of student skill in writing essays analyzing the materials and evaluating the approaches in question. UPPER-LEVEL WRITING REQUIREMENTStudents enrolling in English courses that fulfill the Upper Level Writing Requirement for LSA must select the designation at registration. Please check the English Department's website to find courses listed as fulfilling the ULWR. ENGLISH 140. First-Year Literary Seminar.Section 001 – Black Multiculturalism. Meets with Afroamerican and African Studies 104.001.Instructor(s): Ifeoma C Nwankwo (icn@umich.edu)Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). First-Year Seminar Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. By examining key African American and Caribbean (Latino, Haitian, and West Indian) literary, musical, and filmic texts we will gain insight into the battles fought and the bridges built in the creation of Black culture and identity in the U.S. Both Caribbean immigrants and African American migrants from the South brought their own culture, music, and dreams of a utopian North (America). These cultures and dreams have clashed and blended, resulting in a variety of definitions and expressions of Blackness. We will analyze the development of these definitions and expressions in relation to each other, considering questions such as: Are African American and West Indian equivalent in the U.S.? Should works written by African Americans that are set in the Caribbean categorized as Caribbean or as African American? Is the music of Wyclef Jean and/or Lauryn Hill African American or is it Caribbean? Are the portrayals of Caribbean Blacks in How Stella Got Her Groove Back stereotypical? Is or can Latinidad be Blackness? (At key points we will also reference African Canadian, Caribbean Canadian, and Black British texts and cultures.) Required texts: Edwidge Danticat, Breath, Eyes, Memory; Junot Diaz, Drown Frederick Douglass, The Narrative of Frederick Douglass; Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano; Paule Marshall, Brown Girl, Brownstones; Claude McKay, Home to Harlem; Course pack with excerpts and articles – authors include Zora Neale Hurston, Louise Bennett, Nicolas Guillen, Stuart Hall, and Carole Boyce Davies Course Requirements: Short weekly essays, midterm exam, individual and group presentations, final research paper.
ENGLISH 217. Literature Seminar.Section 001 – The Memoir as Art and RemembranceInstructor(s): Peter M Bauland (pbauland@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU). Credits: (3). Course Homepage: No homepage submitted. The art of the author's personal memory, whether taking the form of autobiography, fiction, drama or film, has found great favor in recent years. Examples from several genres will help us study the importance of memory and the artistic forms it can take. We will try to determine what these varied works have to say about the individuals recalling their life and times. Probable authors and filmmakers: Russell Baker, Phillip Roth, Eva Hoffman, Frank McCourt, Primo Levi, Geoffrey Wolff, Tobias Wolff, Margaret Atwood, Woody Allen, and Federico Fellini. Class size should allow each student a chance to lead discussion. One short paper; one longer critical/analytical essay. Course requires your actively and intelligently participating presence as we try to learn together [which is the nature of a seminar] about the nature and importance of remembrance.
ENGLISH 223. Creative Writing.Section 001.Instructor(s): Margaret Dean (mldean@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: https://coursetools.ummu.umich.edu/2001/fall/english/223/001.nsf No Description Provided. Check Times, Location, and Availability ENGLISH 223. Creative Writing.Section 002 – The Annex Artist – Annexing Space through the WordInstructor(s): Rosebud Lane (rlane@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. The Annex Artist is an artist of a diaspora, an expatriate or one who simply goes beyond Joyce's goal of "being at home in the world" and annexes spaces of the world in a non-materialistic, linguistic method. An Annex Artist is usually found suspect of a defined national identity, and might, at first, live as a voiceover within society, and fear both losing and being persecuted for his or her sudden appearance. Voiceovers themselves are not seen, but if seen, are attributed as a deviation and error of who should be heard. In this introduction course to writing poetry fiction, we will explore the term "Annex Artist" that I've created through examining different writers throughout the world. (Poetry will always have bilingual translations.) We'll investigate the implications of residency as official and stable fluctuates with national immigration movements; space as an idol and the home as a myth. We will read poets such (but not limited to) G. Apollanaire, Pablo Neruda, C. Simic, Nazim Hikmet, F. Garcia Lorca, Y. Amichai, O. Mandelshtam, T. Borge Martinez, T. Transtomer and C. Vallejo. Fiction will focus on the short story, including J. Diaz, Hemingway, F. O'Conner, D.F. Wallace, A. Chekov, and S. Bellow.
ENGLISH 223. Creative Writing.Section 003.Instructor(s): Ryan Flaherty (rflahert@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This class will be run on the assumption that the process of writing is mainly about how something is said, not what is said. How often have we had the desire to write a poem or story, but not known how to create an authentic voice or structure. In this workshop, we will be preoccupied with the creation of fertile, evocative space where the student's natural creativity can blossom. We will look at writers who have succeeded in creating imaginative, poignant and surprising fiction and poetry, and we will participate in the long-standing and honored act of imitation, where the students will deliberately copy someone else's work in order to see, first hand, how it is working. But mainly, the workshop is about the student's writing. Each student will be expected to create approximately 10 pages of poetry and 20 pages of fiction. Besides creating our own work, we will be expected to give intelligent and informed comments to each other. Be prepared to listen, speak, debate, respect and learn about writing. In a class such as this, participation is mandatory. Grades will be based mainly on a final, revised portfolio. Writers to be discussed among many others are, Flannerty O'Conner, James Bladwin, Junot Diaz; Yusef Komunyakaa, James Tate, and Thylias Moss.
ENGLISH 223. Creative Writing.Section 004.Instructor(s): Ava Pawlak (pawlaka@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Even when we strive to write about events we have never experienced, fiction and poetry have a way of channeling our own lives to the page and rewarding us with a substantial piece of personal history. Writing is proof that we exist. In a workshop environment focusing primarily on fiction and secondarily on poetry, students will strive to locate an authentic voice in respect to their own life experiences and the lives of those around them, while avoiding the autobiographical and sentimental. Students will be expected to invest serious thought to their work as well as the work of their peers. A final portfolio of two short stories and 5-8 poems will be expected, with a minimum of 30 pages total. Though sessions will focus primarily on collaborative work, students will be assigned readings from The Vintage Book of Contemporary American Short Stories.
ENGLISH 223. Creative Writing.Section 005.Instructor(s): Sharon Pomerantz (sjpomera@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This class is an introduction to the writing of drama and fiction, and will look at the differences and similarities between the two genres and how writing one can aid in the writing of the other. In the first half of the term, short exercises will help beginning writers to create scenes leading to a one-act play; in the second half, we will concentrate on fiction, and discuss what makes a short story different from a short play, use of exposition, narrative, etc. We will spend roughly one-third of our class time discussing the work of contemporary writers and two-thirds reading and workshopping and/or performing student work. The overall goal is to come out of this class with both a better sense of what you want to say, and even more importantly, how you want to say it.
ENGLISH 223. Creative Writing.Section 006.Instructor(s): Patricia Akhimie (pakhimie@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course will explore the genres of poetry and fiction, focusing on the craft each through workshop critique of the students' work and discussion of the strategies used by major contemporary authors and poets as well as writers of past ages. Students will investigate the ways in which writing can create a conversation between the author and the reader, and the importance of that dialogue in society. The greater part of class time will be devoted to critiquing the fiction and poetry of the students, with some time spent discussing the work of writers such as Langston Hughes, Anne Carson, Willa Cather, James Baldwin, William Shakespeare, Yusef Komunyakaa, Mark Twain, and Zora Neale Hurston. By the end of the semester students will have compiled a portfolio comprised of roughly 15 pages; attended at least one reading outside of class, and written a short reaction paper on a contemporary collection of poetry or short fiction. "If I feel physically as if the top of my head were taken off, I know that is poetry,"(Emily Dickinson)
ENGLISH 223. Creative Writing.Section 007.Instructor(s): Therese Stanton (theresem@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 008.Instructor(s): Rae Gouirand (mgouiran@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This introductory workshop in poetry and prose, with a slight emphasis on poetry, will explore the craft of writing as well as the craft of reading. Most of our class time will be devoted to workshopping original student work, but we will also discuss readings (TBA) and questions that arise concerning the writing process. Periodically we will look to in-class writing exercises to freshen our approach. Course requirements include weekly writing assignments, culminating in a final revised portfolio of 6-8 poems and 15-20 pages of prose. Other requirements include short written reflections on the reading assignments, responses to fellow students' works-in-progress, active class participation, and attendance at at least one public reading.
ENGLISH 223. Creative Writing.Section 009.Instructor(s): Anthony Reed (abreed@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Toni Morrison once said she was simply writing the sort of things she wanted to read. This is more easily said than done, as many of us end up writing what is "safe," that is, what we think others will like or accept. The fundamental view of this class is that art should be dangerous. We will try to reverse that, finishing the semester having more confidence about writing in general and more confidence in telling our stories (all art, not just fiction, tells a story). This workshop will have a slight emphasis on fiction and will have your work and our discussion as the bulk of all work, though we will also read an occasional anthologized story or poem for instructive purposes. Students will be expected to produce a midterm portfolio consisting of about 7-10 pages of revised poetry and 20-25 pages of revised prose. Other requirements will be peer critiques, several brief in-class exercises, and the attendance of at least two public readings.
ENGLISH 223. Creative Writing.Section 010.Instructor(s): Jess Row (jrow@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 011.Instructor(s): Brie Tiderington (bnt@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This writing workshop will focus primarily on poetry and fiction. Authors we'll be reading include Stanley Kunitz, Tim O'Brien, Mary Oliver, James Baldwin, Jane Kenyon, Jhumpa Lahiri, Louise Gluck, George Saunders, and the old Heimingway. By the end of the academic term you will have a 35 page portfolio consisting of two or three stories and five to ten poems.
ENGLISH 223. Creative Writing.Section 012.Instructor(s): Ian Reed Twiss (reedtwis@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 013.Instructor(s): Josie Kearns (jakearns@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 223. Creative Writing.Section 014.Instructor(s): Phil Crymble (pcrymble@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: http://www-personal.umich.edu/~pcrymble/syllabus.html This course will be weighted equally in the study of both short prose fiction and poetry. Considerable emphasis will be placed on issues of craft in each genre, and to that end, a selection of seminal essays, statements of poetics, manifestos and various other written considerations of how writing works and breaks down will be central to how the course operates. I will devise a course-pack of readings selected primarily from among the leading voices in poetry and fiction (in English) of the 20th Century. Richard Hugo's slim volume of indispensable essays The Triggering Town will also be a required text. The final portfolio will be a revision of half the term's work, but must include writing in both genres. A short meditative essay (2-3 pages) discussing what you feel you have accomplished will preface your revised work. Class participation is required and will be built into the grading rubric. Students must also attend at least one public reading during the term.
ENGLISH 223. Creative Writing.Section 015.Instructor(s): Peggy Adler (adlerp@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 016.Instructor(s): Jason Kirk (jckirk@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 017.Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 018.Instructor(s): Carrie Sue Sulzer (kayc@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Our class will examine the history of storytelling, and its many modern manifestations. Emphasis will be placed upon learning traditional forms before experimenting with them. Students will read various examples of storytelling at its best from around the world, along with essays on the craft from experienced storytellers. We will come to understand the revision of drafts as an indispensible facet of story writing. Much of our in-class time will be dedicated to collaborative workshopping of students' stories. We will also examine different forms of poetry, and consider rhythm and sound and expressive, precise word choice as vital elements of both poetry and prose. Over the course of the academic term students will be required to produce at least two polished stories and five to ten poems. Grades will be based mainly on class attendance and participation in workshops, and on the improvement shown in final portfolios. Other requirements may include a writing journal, a book review, or attendance at public readings.
ENGLISH 223. Creative Writing.Section 019.Instructor(s): Fritz Swanson (fgs@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 223. Creative Writing.Section 020.Instructor(s): Laura Kopchick (lkz@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required.
ENGLISH 225. Argumentative Writing.Instructor(s):Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. This course furthers the aims of English 124 and 125 in helping to analyze the various claims of a given issue and to develop ways of exploring and defending positions, ideas, and beliefs in writing. Careful attention will be paid to the process of reasoning, the testing of assumptions and claims, the questioning of beliefs, and the discovery of ideas and evidence through analysis and rigorous articulation in written discourse. The course will also focus on considerations of style, formal strategy techniques, and revision as integral to precision in making points and developing argumentative ideas both for purposes of individual reflection as well as for the purpose of persuading an audience.
ENGLISH 225. Argumentative Writing.Section 001.Instructor(s): LaTissia Mitchell (latissia@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 002, 017.Instructor(s): Therese Stanton (theresem@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 003, 019.Instructor(s): Hilary Thompson (hthomps@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 004, 012.Instructor(s): Gene Laskowski (point@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 005, 011.Instructor(s): Sarah Talpos (sktalpos@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 006.Instructor(s): Louis Cicciarelli (lcicciar@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 007.Instructor(s): Shari Steadman (steadman@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 008, 009.Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 010.Instructor(s): Barbara Ohrstrom (ohrstrom@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 011.Instructor(s): Sarah Talpos (sktalpos@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
ENGLISH 225. Argumentative Writing.Section 012.Instructor(s): Gene Laskowski (point@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
ENGLISH 225. Argumentative Writing.Section 013.Instructor(s): Janice Leach (leachj@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 014.Instructor(s): Angela Balla (aballa@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 015.Instructor(s): Sarah Talpos (sktalpos@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 016.Instructor(s): Pat Rubadeau (patruba@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 017.Instructor(s): Therese Stanton (theresem@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
ENGLISH 225. Argumentative Writing.Section 018.Instructor(s): Kirk Davis (daviskl@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 019.Instructor(s): Hilary Thompson (hthomps@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
ENGLISH 225. Argumentative Writing.Section 020, 022.Instructor(s): Peggy Adler (adlerp@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 021.Instructor(s): Kelly Allen (pulchela@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 022.Instructor(s): Peggy Adler (adlerp@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
ENGLISH 225. Argumentative Writing.Section 030, 031.Instructor(s): Charles L. Taylor (chartay@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. (Contact the Comprehensive Studies Program for more information.)
ENGLISH 225. Argumentative Writing.Section 030, 031.Instructor(s): Charles Taylor (chartay@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 225. Argumentative Writing.Section 032.Instructor(s): Ralph D StoryPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 226. Directed Writing.Instructor(s):Prerequisites & Distribution: Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be repeated for a total of three credits. Credits: (1-3). Course Homepage: No homepage submitted. Registration only by arrangement with the instructor.
ENGLISH 227 / THTREMUS 227. Introductory Playwriting.Section 001.Instructor(s): Wendy Hammond (wham@umich.edu)Prerequisites & Distribution: (3). (CE). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. See Theatre and Drama 227.001.
ENGLISH 229 / LHSP 229. Technical Writing.Section 001.Instructor(s): Pat Rubadeau (patruba@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4). Course Homepage: No homepage submitted. In this course, students analyze and practice the types of writing done by technical and professional writers – in particular, manuals, reports, correpondence, and proposals. Like all effective writing, technical and professional writing emerges from an understanding of purpose and audience, from an understanding of "the rhetorical context." It is the specifics of its rhetorical context – not any implied intellectual difference – that distinguishes technical and professional writing from other forms of writing. Thus, a major goal of this course will be to help students develop the analytical skills they will need to navigate the rhetorical contexts technical and professional writers encounter in a variety of fields. Since most technical and professional writing is the result of collaborative activity, students should expect to work in teams in the course, but the course will also address more personal issues, such as the writing of resumes and letters of self-promotion.
ENGLISH 229 / LHSP 229. Technical Writing.Section 002.Instructor(s): Scott Melanson (melanson@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). Credits: (4). Course Homepage: http://coursetools.ummu.umich.edu/2001/fall/english/229/002.nsf Students analyze and practice the types of writing done by technical and profesional writers. Like all effective writing, technical and professional writing emerges from an understanding of purpose and audience, from an understanding of "the rhetorical context." It is the specifics of its rhetorical context – not any implied intellectual difference – that distinguishes technical and professional writing from other forms of writing. Thus, a major goal of this course will be to help students develop the analytical skills they will need to navigate the rhetorical contexts technical and professional writers encounter in a variety of fields. Since most technical and professional writing is the result of collaborative activity, students should expect to work in teams in the course, but the course will also address more personal issues, such as the writing of resumes and letters of self-promotion.
ENGLISH 239. What is Literature?Section 001, 002 – Telling Stories: The Art of NarrationInstructor(s): Lillian L Back (lillianb@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. We will want, in this class, to think about the power and the connectedness that the act of telling stories might provide. For example a character in Ursula Hegi's Stones From the River, thinks: "Every time I take a story and let it stream through my mind from beginning to end, it grows fuller, richer, feeding on my visions of those people the story belonged to until it leaves its bed like the river I love. And then I have to tell the story to someone." Our readings will often focus on the dynamics of the imaginative process – our own as well as the authors. We will want to begin by trying to uncover the strong need of each individual to tell his or her story. Moreover, as the semester continues and we discuss various 20th-century literature (mostly), we will find ourselves grappling with issues as basic as what defines the dimensions of a character and the place that character makes in his or her world. We want to pay particular attention to the narrators of each story we read. Ultimately, I hope we can understand how an author has prepared these amazing creations to "speak" to us. Although the final syllabus decision has not been made, I am sure we will want to listen to John Irving's narrator for Owen Meany and Gloria Naylor's variety of narrators telling us the story of Mama Day. There will be 2 essays, a midterm and final exam required.
ENGLISH 239. What is Literature?Section 003.Instructor(s): Lemuel A Johnson (eljay@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. How and why do we learn to read a text if the author is God, Shakespeare, and Walt Disney? What accounts for the difference in our responses? Should there be such differences? Why? How are those differences produced or reinforced? Also, how do we change from being "true-believer" readers of a given text to resisting readers of the same text? What roles do language & nationality, gender & age, and class & ethnicity play in all this? Consider: what does it mean to not believe in the words of Scripture? Would this be the same thing as not believing in, say, Hamlet & Moby Dick, Grapes of Wrath & Chaucer's Canterbury Tales? What kinds of compensation do we expect, or what penalty do we fear, when we give any answer at all to the course question: What is Literature? Where would the compensation, or penalty, come from? Is a given text – say, Maxine Hong Kingston's Woman Warrior or Charles Dickens' Great Expectations or Cervantes' Don Quijote – private or public property? Does it belong to the Author? The Reader? The Nation? the Local School Board? How free is any one group to make a text be what it wants it to mean? Major project comes at the end of the term, with a complet-the-syllabus assignment. Students choose a text on their own, and work that text through questions like the ones above. Short reports (1-2 pages) will be required on all assigned readings.
ENGLISH 239. What is Literature?Section 004 – Literatures of the United StatesInstructor(s): Rosemary Ann Kowalski (rkowalsk@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. In this class we will be looking at a number of short stories, a few novels and films to answer the questions: What is literature? and What is American – that is, United States literature? We will be looking at some critical and theoretical pieces to determine what constitutes "literature" (how do we decide what is and isn't "literature"?) and what constitutes "United States literature" (is it US literature simply because it was written by someone in the United States? can an expatriate – William James comes to mind – write US literature? or is there some "thing" – some element in the text – that makes a piece "American"? Is there a mainstream canon of United States literature with other streams of "minority literature" running alongside or behind it or ahead of it? or does it consist of all streams running together, merging into a single current?) Our readings will consist of a variety of texts representing many American voices, and novels may include Cold Mountain, Underworld, and Ceremony. Requirements include one short paper, a final exam, an oral presentation as well as participation in class discussions and in a class computer conference.
ENGLISH 239. What is Literature?Section 005 – Global Literature.Instructor(s): Simon E Gikandi (gikandi@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. One of the most exciting consequences of the development of English as a global language has been the emergence of a body of writing that has challenged the assumed relationship between nation, language, and literature. This course will be an invitation to discover this "new" English literature, its elaborate cultural context, and its inventive use of the English language. Through a reading of both established and new writing from Africa, India, the Caribbean, and the Pacific, we will explore the ways in which this literature has developed in response to the complex relationship between Britain and her former colonies, the demands of nationalism and narratives of cultural identity, and the challenges of producing literature in the language of "the other." How does this new literature reconcile its need to represent local situations with its global ambition? Does the new English literature demand different strategies of reading and interpretation? How has it transformed the form of the English language and its institutions of interpretation? To answer these questions we will read a selection of writers from Africa (Amos Tutuola, Chinua Achebe, Wole Soyinka, Yvonne Viera and Tsitsi Dangarembga), India (R. Tagore, R. K. Narayan, Mulk Raj Anand, Anita Desai, and B. Mukherjee), the Caribbean (Derek Walcott and Jean Rhys), and the Pacific (Albert Wendt).
ENGLISH 239. What is Literature?Section 006 – Realism and Other Fictions.Instructor(s): Merla Wolk (merla@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: https://coursetools.ummu.umich.edu/2001/fall/english/239/006.nsf In this course, we will focus on fiction to explore some of the factors prompting the question "what is literature." From their inception, as John Fowles contends, fiction writers shared the "wish to create worlds as real as, but other than the world that is." Imitating life was the goal, even in as diverse renderings of so-called "reality" as George Eliot's depiction of "ordinary life," or R.L. Stevenson's fantasy-like version of the odd couple of Dr. Jekyl and Mr. Hyde; or Virginia Woolf's impressionistic interior monologues. Even post-modern writers, cynical about any professed connection between literature and reality, presented their own versions of reality by foregrounding their inability to be certain about the conclusions to their texts (John Fowles) or denying any priveleged information about their characters (both Fowles and Tim O'Brien). Shifting literary styles, and the changing philosophical definitions of social and psychological reality that shaped them, will be our subject. Texts will include, John Fowles' The French Lieutenant's Woman, Toni Morrison's Sula, short stories by Hemingway and Kundera, Tim O'Brien's In the Lake of the Woods, Art Spiegelman's Maus I and II, and Virginia Woolf's To the Lighthouse. Any additional texts will be listed on my web site. Requirements: two essays, a midterm and a final, class participation, and regular attendance.
ENGLISH 239. What is Literature?Section 007 – The FamilyInstructor(s): Brenda K Marshall (bkmarsh@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. What we call "family" is often based on our own experience. In this class we will explore various concepts of "family" through reading novels and short stories. As we read Egger's A Heartbreaking Work of Staggering Genius, Toni Morrison's Sula; Marilynne Robinson's Housekeeping; Michael Cunningham's Flesh and Blood; Edwidge Danticat's The Farming of Bones; and selected short stories, we will look at how notions of "family" are affected by gender, sexuality, race, and class. There will be three in-class essays. Class participation is essential.
ENGLISH 239. What is Literature?Section 008.Instructor(s): Susan NajitaPrerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course introduces students to key terms and practices in the study of literature. This section of "What is Literature?" will combine the study of the genres poetry, short story, novel, play, and film with an introduction to critical perspectives such as psychoanalysis, feminism, Marxism, linguistics, new historicism, and cultural studies. We will read Shakespeare, Blake, Whitman, Keats, Cisneros, Joyce, Mansfield, Wharton, Faulkner, Morrison, and Hwang, and view the films Bladerunner and Law of Desire. We will familiarize ourselves with issues relating to form, gender and sexual identity, ethnicity, representation, colonialism, narration, and commodity culture. Expectations: 3 papers (one 2-3 page paper, one 3-5 page paper, one 5-7 page paper), weekly quizzes, presentations, enthusiastic participation, and regular attendance.
ENGLISH 239. What is Literature?Section 009.Instructor(s): Joyce Meier (meierjzz@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course addresses how our assumptions about gender, ethnicity, and class shape our expectations and readings of literature. Who is literature for? What purpose does it serve? What makes a "good" story or novel, and how do we know this? How do specific literary periods and even technological developments (such as the invention of the computer) change our ideas of literature? How might each of us read a literary work differently, and why? Students will write a number of informal responses as well as a midterm and three formal papers. Class participation and discussion are essential components of this course. Readings will be chosen from a list that includes Frederick Douglass' Narrative, James Weldon Johnson's Autobiography of an Ex-Colored Man, Sandra Cisneros' The House on Mango Street, Toni Morrison's Song of Solomon, Chinua Achebe's Things Fall Apart, and Leslie Marmon Silko's Ceremony.
ENGLISH 239. What is Literature?Section 010.Instructor(s): Ilana BlumbergPrerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. In this course, we will examine the personal stories of survival that slave narratives and Holocaust narratives tell. We will consider how these texts address the power of writing to stem suffering and reconstitute a broken or forgotten self; the problem of representing what can never be adequately represented; and the possibility or impossibility for narrative to forge links between writers and readers. We will look at some fictions of Holocaust and slave experience in order to analyze the claims made by imaginative representations of historical experience. Finally, we will consider the way that all literary works, autobiographical or fictional, organize human experience into structures of meaning. Texts may include: Harriet Jacobs' Narrative in the Life of a Slave Girl, Toni Morrison's Beloved, Primo Levi's Survival In Auschwitz, Elie Wiesel's Night, Cynthia Ozick's The Shawl. Course requirements: regular attendance and participation, three 5-7 page papers, and short assignments.
ENGLISH 239. What is Literature?Section 011.Instructor(s):Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 239. What is Literature?Section 012.Instructor(s):Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 239. What is Literature?Section 013.Instructor(s):Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 240. Introduction to Poetry.Section 001.Instructor(s): Macklin Smith (macklins@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Poetry 240 is a course in ways to understand, feel, enjoy, evaluate, and interpret poems. Poetry differs from ordinary language and from prose in certain fairly conventional and (for poetry) advantageous ways, and we shall try to understand how it does so. As we look at – and hear – poems, we shall consider such things as sound, diction, rhythm, figures of speech, the line, form, genre, authorship, audience, and context. Our readings will come from various cultures, old and now; most readings will be British and American, most of these recent or contemporary. We'll pay some attention to the histories of poetry, and try to get a feel for the contemporary poetry scene. Texts: an introduction to poetry book and an anthology, both in course pack form. Everyone will write three essays on increasingly challenging topics. There will be a test on "technical terms," another on the course readings, and a final exam asking for the interpretation and evaluation of some new poetry.
ENGLISH 240. Introduction to Poetry.Section 002.Instructor(s): George J Bornstein (georgeb@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course is intended for any Honors student 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 in which we can understand and improve our responses to them. After an introduction to poetic analysis we will progress chronologically from Shakespeare to the present, emphasizing particularly the diversity of the last two centuries and ending with in-depth study of a major modern poet (probably 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 short papers, the last of which will serve as a final exam; no prerequisites. The text will be The Norton Anthology of Poetry, Fourth Edition.
ENGLISH 240. Introduction to Poetry.Section 003.Instructor(s): Gorman L Beauchamp (gormanb@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. The first part of this course will concentrate on prosody – the techniques of verse, how poems are put together, how they work. The second part will undertake a mini-history of English poetry, concentrating on some of the major poems from the Renaissance through the Modernists. There will be two exams, short daily writing assignments (a paragraph or so), and two five page analytical papers. The text will be the Norton Anthology of Poetry.
ENGLISH 240. Introduction to Poetry.Section 004.Instructor(s): Richard D Cureton (rcureton@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. The aim of this course is to introduce you to the art of poetry so that you can read and discuss any poem with understanding and delight. During the term, we will move from a general survey of poetic techniques and forms to a more detailed study of the work of a selection of authors from the Renaissance to the present. For the former, we will use Western Wind by John Frederick Nims. For the latter, we will use a course pack of selected poems. Formal writing will include three (ungraded) exercises in poetic analysis and four (graded) papers (3-5 pages) on individual authors and poems.
ENGLISH 240. Introduction to Poetry.Section 005.Instructor(s): James H Mcintosh (jhmci@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course is for students interested in reading poetry with increased pleasure and understanding. We will read specific poems closely to illustrate questions of voice, narrative, diction, rhythm and meter, sound, figures of speech, the line, form, authorship, audience, and context. Students will also learn something about the historical development of poetry in English. During the term, we will move from a general survey of poetic techniques and forms to a brief but detailed study of the work of one author, perhaps Elizabeth Bishop. We will also explore how poetry can help create communities and stimulate moral and political thinking and feeling. I expect to ask students to write four short papers and a midterm. Other requirements for the course are regular attendance and active participation in class. Final grades will reflect all the requirements. Texts: Abrams, Glossary of Literary Terms, and The Norton Anthology of Poetry.
ENGLISH 240. Introduction to Poetry.Section 006.Instructor(s): Richard W Tillinghast (rwtill@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. The aim here is to enhance our enjoyment of poetry. How poetry uses language uniquely, how rhythm, rhyme and meter give pleasure and highlight meaning – these are some of the subjects we will study, along with metaphor and other kinds of figurative language. We will also examine how a poem means one thing by saying something different (irony). Most Wednesdays a short quiz will be given on details of what we have been studying. These quizzes and other brief assignments will count for 25% of your total grade. You will also be assigned the occasional two-page paper and one five-pager. Textbooks: Elizabeth Bishop, The Complete Poems: 1929-1979. Seamus Heaney, Selected Poems: 1966-1987. Seamus Heaney & Ted Hughes, The Rattlebag. Also a short course pack.
ENGLISH 240. Introduction to Poetry.Section 009.Instructor(s): Karla T Taylor (kttaylor@umich.edu)Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This introduction to lyric poetry will draw its reading from a wide historical range, from the earliest poetry in English to the present. Its aim is to teach you how to read poetry with understanding and delight; to this end, we will attend closely to the techniques and resources of language that poets use to articulate their visions of experience. We will consider especially matters of form (including diction, prosody, tone, and figurative language) and the way they shape themes, voice, intertextual connections, and poetic traditions. Classes will proceed mainly by intensive discussion of a few poems each day. Assignments to include short exercises, some memorizing, three or four short papers, and a final.
ENGLISH 240. Introduction to Poetry.Section 010.Instructor(s):Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. No Description Provided. Check Times, Location, and Availability ENGLISH 240. Introduction to Poetry.Section 011.Instructor(s): Richard HillesPrerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. My aim for this course is to enrich your understanding and love of poetry by introducing you to – and asking you to meaningfully engage with – a range of influential poems written in English. Toward this end, we will focus on major poems written from the Renaissance to the present time. We will examine how poems achieve their power both formally (through a close examination of their prosodic elements) and through close readings, primarily in the form of class discussions, but also in the form of written explorations of these texts. Because seriously engaged classroom discussion is vital to this class, regular attendance and active participation are required. The Norton Anthology of Poetry will be our primary text, in addition to handouts. (Hilles)
ENGLISH 240. Introduction to Poetry.Section 012.Instructor(s): Nancy ReinhardtPrerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. We will consider a wide range of poetry, from Seamus Heaney's Beowulf to contemporary experiments in word and image. Although many styles will be examined, the emphaisis will be on varieties of lyric poetry. We will examine basic elements, both formal and thematic, and consider questions of authorship, audience and cutlural context. Readings primarily from standard anthologies. Requirements: regular class attendance and participation; several in-class exercises; three short papers; a midterm and a final. (Reinhardt)
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