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Fall Academic Term 2003 Course Guide

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Courses in English


This page was created at 7:07 PM on Tue, Sep 23, 2003.

Fall Academic Term, 2003 (September 2 - December 19)



ENGLISH 140. First-Year Literary Seminar.

Section 001 — From Elizabeth Cady Stanton to Eminem: Language's Power to Write Our Worlds.

Instructor(s): Alisse S Theodore (alisse@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). May not be repeated for credit.

First-Year Seminar

Credits: (3; 2 in the half-term).

Course Homepage: http://www.umich.edu/~alisse/ENGL140f03/index.html

When Elizabeth Cady Stanton, a founder of the U.S. woman's rights movement, spoke to the New York State Legislature in 1854, she listed for the legislature groups of women rendered powerless by oppressive laws. "For all these," Stanton told the legislature, "we speak." In 2000, responding to extensive criticism of his music, Eminem exclaimed in one of his songs, "Damn! How much damage can you do with a pen? . . . I just said it ? I didn't know if you'd do it or not."

How powerful is language, really? What difference does it make? How much power does language to write ? or right ? our worlds? How does language work to persuade people or bring about change? To engage these questions, we'll read some theories about the rhetorical dimensions of language and we?ll examine a range of public texts, including but not limited to speeches, essays, letters, advertisements, and songs. I anticipate that work for this course will include regular attendance and participation; weekly readings (hard copy and online written documents, photographs, audio and video clips); several brief written responses to course texts; occasional quizzes; and two exams.

Check out the course website http://www.umich.edu/~alisse/ENGL140f03/index.html for updates.

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ENGLISH 140. First-Year Literary Seminar.

Section 002 — Black Multiculturalism.

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). May not be repeated for credit.

First-Year Seminar

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

African American, Latino, and West Indian — do the distinctions we make between them really make sense? How do the groups clash and connect? Are Latinos like Sammy Sosa Black? Where do mixtures between hip hop, salsa, and dancehall reggae fit? How are the histories of these groups similar and different? What are Colin Powell and Busta Rhymes — African American or Caribbean? By examining contemporary and historical African American, West Indian, and Latino/Latin American literature, music, and film we will gain insight into the persistence of cross-group stereotypes, instances of intermixture between the groups, and tensions between individual figures.

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ENGLISH 140. First-Year Literary Seminar.

Section 003 — Native American Fiction.

Instructor(s): Faller

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). May not be repeated for credit.

First-Year Seminar

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 217. Literature Seminar.

Section 001 — Midwest Literature.

Instructor(s): Rosemary Ann Kowalski (rkowalsk@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

The Midwest is home to more Nobel Prize Winners in Literature than any other comparable region of the world. What is it about this area that has captured the imagination of the nation? What is it about this literature that resonates so widely with people from other countries that they award it so many prestigious honors? Join us as we explore the writings of Sinclair Lewis, Ernest Hemingway, Saul Bellow and Toni Morrison who, though they may not all write about the Midwest all of the time, write with a "midwestern sensibility." What is "midwestern literature"? How have these writers helped to shape and define it? What have other midwestern writers contributed to this tradition?

Assignments include weekly Reading Responses, a final project (a term paper or a Web-page), and a final exam.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 217. Literature Seminar.

Section 002 — Fantasies of Childhood in British Literature.

Instructor(s): Lisa Makman

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

This sophomore seminar focuses on the ways children are represented in 19th and 20th century British literature. We will read from a broad selection of works written for children and for adults. Our writers will include William Wordsworth, William Blake, Charles Dickens, Christina Rossetti, Lewis Carroll, J.M. Barrie, Roald Dahl, and J.K. Rowling. Exploring themes such as innocence versus experience, the child's imagination, and development through play, we will trace the emergence of modern childhood. Requirements: midterm, final, response papers, term paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 223. Creative Writing.

Section 001.

Instructor(s): Marika Ismail

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 ENGLISH 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 is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 002.

Instructor(s): Laura Krughoff

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 ENGLISH 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 is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 003.

Instructor(s): Rachel Nelson

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 ENGLISH 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 is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 004.

Instructor(s): Karen Siegel (ksiegel@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://coursetools.ummu.umich.edu/2003/fall/english/223/004.nsf

An introduction to short fiction and poetry. The focus of this section will be on craft-the technical and formal elements a writer uses to create a work of fiction or poetry. Exercises designed to increase students understanding of these elements and to help students find material will be undertaken in addition to the reading and discussion of both published work and that of the class' participants. Requirements include attendance, class participation, thoughtful responses to each other's work, reading of some published fiction and poetry, writing exercises, and a final portfolio of revised fiction and poetry due at the end of the term.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 005.

Instructor(s):

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. Contact the Department.

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ENGLISH 223. Creative Writing.

Section 006.

Instructor(s): Suzanne Hancock (hancocks@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.

In this course, we will devote our time to the writing and discussion of poetry and short prose fiction. The majority of class time will be dedicated to workshopping original student writing, but we will also discuss the work of various established authors in both genres. To write well, I believe, one must also read well. We will work hard to become proficient readers of each other's work and to develop our skills of critical expression. We will perform numerous short improvisational exercises and we will also discuss key issues related to the writing life through essays by writers on the process and product of writing. At the end of the semester students will hand in six to eight revised poems, and two to four prose pieces. Grades will be based on attendance, thoughtful participation in class, short response papers, and the effort and improvement shown in the final portfolio.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 007.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 008.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 009.

Instructor(s): Irene Hahn (ihahn@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.

In this course, we will focus on the writing of fiction and poetry. Rather than study the two crafts as mutually exclusive, we will be exploring the ways in which the practice of one can inform and enhance how we practice the other. Much of the class will be devoted to discussion of your own original work, but we will also be reading a selection of texts by established authors to sample the approaches that others have taken. Assigned writing exercises will develop individual components of craft such as setting, tone, and point of view. The hope is that we will become a supportive community in which to explore your own creative voice and take narrative risks. A final portfolio of 8-10 poems and 20-25 pages of fiction is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 010 — Ways of Seeing.

Instructor(s): Elizabeth Kostova (ekostova@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.

Every writer brings to the world an ability to see it afresh. Our class will explore and hone this ability through the writing of the short story and of poetry, with an emphasis on the importance of learning to observe and record concrete details in your own day-to-day experience. We'll use a combination of in-class writing exercises, writing journals, and analysis of some outstanding practitioners (both contemporary and earlier) of each form to build our own portfolios. We'll also read some essays on craft and attend two public readings. The class will follow a writing workshop format, with an emphasis on thoughtful, constructive peer critique. Bring with you a willingness to participate and take risks, an openmindedness about other people's work and what you can learn from it for your own craft, and your sense of humor.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 011.

Instructor(s):

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. Contact the Department.

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ENGLISH 223. Creative Writing.

Section 012.

Instructor(s): Ian Stuart Twiss

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 013.

Instructor(s): Mike Hinken (hinkenm@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 examine the craft of both fiction and poetry, with special emphasis on students producing a portfolio of creative work in each genre. While we will certainly read and discuss published works with an eye toward various techniques, our main endeavor will be exploring the creative process as it applies to practicing writers. The first half of the semester will be devoted to short fiction; students are expected to produce a pair of stories each 8-10 pages in length, and a final portfolio of 20-25 pages of polished work. The second half of the semester students will write one poem per week and will turn in a final portfolio of 10-12 pages of revised poetry. Expect various creative exercises in both genres and 2-4 response papers on assigned readings. In addition, since the class will rely chiefly on a workshop format, students must be prepared to have a voice in class discussions.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 014.

Instructor(s): Nicole Maranhas (nmaranha@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 examine the crafts of playwriting and writing short fiction. The playwriting segment will focus on developing a dramatic scene, with emphasis on using character, dialogue, and setting to forward the story's action. The fiction portion of the semester will build on these ideas to include theme, plot, point of view, tone and voice as we learn how to tell a good story in a limited number of pages. We will look at the work of several playwrights and short fiction writers during the semester, as well as workshop your own writing. We will also do in-class writing exercises and short written assignments to help you experiment with different techniques, and to help you find your own writing style and voice. By the end of the semester, all students will have completed a 35-50 page portfolio of both short fiction and dramatic writing.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 015.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 016.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 017.

Instructor(s): Karen Outen (kouten@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.

Telling Your Story, Finding Your Voice

Many of us have stories we would love to tell about the characters or places that appeal to us. In this course, we1ll bring those stories to life. By exploring elements of craft and technique in creative writing, students will create original works of fiction and poetry. In addition, we will read a range of fiction and poetry by a diverse group of writers. The primary element of the course will be the workshop, in which students will learn to be critical readers of the work created in our class. During the course, each student will produce a 35-50 page portfolio consisting of 2-3 short stories and 5-10 poems.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 018.

Instructor(s): Carrie Strand (csstrand@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 focus on the process of creative writing, and moreover, creative thinking, as a means of refining personal expression. We will achieve this through a variety of exercises designed to open the exotic corners of the mind. You will each produce two polished collections of writing-one of poetry, and one of prose. Additionally, the class will be supplemented with reading material that exemplifies the thinking and craft of successful writers. We will conduct active discussions about these writings and perhaps more importantly, there will be ample time to discuss the work of everyone in the class. We will also learn the art of revision, not as a tedious process, but as an active engagement of creativity. The hope is that when you leave this class, you will carry with you a fresher and more varied palate with which to paint your experiences.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 019.

Instructor(s): Rachel Losh (rlosh@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 focus on developing and refining your skills as writers of poetry and fiction-with one half of the semester dedicated to each genre. Assignments will be crafted with the intent of harnessing your creative impulses and directing them in unexpected ways in order to produce surprising results for your writing. Through writing, reading, and class discussion, we will examine the different tensions within a piece of writing-argument, theme, language, voice, structure-and consider ways to manipulate these elements for different effects. Class time will partly be spent reading and discussing well known authors, but the primary focus of class will be to workshop your writing. A final portfolio of your work, at least 35 pages long, is required upon completion of the semester.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 223. Creative Writing.

Section 020.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 021.

Instructor(s): Jeremiah Chamberlin (jchamber@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 goal of this course is to develop and improve individual writing in both the narrative and poetic forms, as well as to introduce students to the writers today who are influencing these respective genres. Students will be required to read and discuss assigned stories and poems by published authors, participate in in-class writing exercises, submit stories and poems to be discussed for workshop, thoughtfully critique the work of their peers, and complete a final portfolio of revised work. This particular section of English 223 will focus predominately on the short story, using the transitions between lyric poetry, the prose poem, and short short (or flash) fiction as an introduction to the longer form. Attendance to no less than one reading in each genre will also be required. Most importantly, because this class will be taught in a workshop environment, participation is essential.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 022.

Instructor(s):

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. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This advanced writing course focuses on the elements of evidence and argument. Unlike ENGLISH 325 with its emphasis on exploration and style, ENGLISH 225 encourages students to analyze the various components of a given issue and the writing conventions of different disciplines in order to explore and defend their positions, ideas, and beliefs in writing. In the process, they will concentrate on the testing of assumptions and claims, the questioning of beliefs, and the analysis and rigorous articulation of evidence in written discourse. The course stresses the compilation of strong evidence, specifically the use of outside sources and the smooth integration of such material into the prose of an essay. The readings are primarily non-fiction, and discussions and writing assignments emphasize considerations of style, rhetorical strategies, and revision as integral to precision in developing a line of argument for the purposes of reflection as well as persuasion.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Prerequisites are being enforced.

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ENGLISH 225. Argumentative Writing.

Section 001.

Instructor(s): Maureen McDonnell

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 002.

Instructor(s): Crystal Summers

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 003.

Instructor(s): Krista Homicz (khomicz@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/225/003.nsf

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 004.

Instructor(s): Jill Lamberton

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/225/004.nsf

This advanced writing course focuses on the elements of evidence and argument. Unlike ENGLISH 325 with its emphasis on exploration and style, ENGLISH 225 encourages students to analyze the various components of a given issue and the writing conventions of different disciplines in order to explore and defend their positions, ideas, and beliefs in writing. In the process, they will concentrate on the testing of assumptions and claims, the questioning of beliefs, and the analysis and rigorous articulation of evidence in written discourse. The course stresses the compilation of strong evidence, specifically the use of outside sources and the smooth integration of such material into the prose of an essay. The readings are primarily non-fiction, and discussions and writing assignments emphasize considerations of style, rhetorical strategies, and revision as integral to precision in developing a line of argument for the purposes of reflection as well as persuasion.

Here's my interpretation of the above . . . I gather that my assignment is to help you test assumptions and claims, question beliefs, and analyze and "rigorously" articulate evidence in writing. In other words, if you and I both do our work in this course, examining evidence will become not only a way to write, but a way for us to learn, a way to read, and a way to know. Acquiring the skills to thoughtfully (I'll return to that word again and again this term) question beliefs and assumptions means that you can, will, must have the ability to understand the thoughts, values, and positions of another writer, thinker, human being. Figuring out how best to question and examine others' ideas is what we will do in this course.

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ENGLISH 225. Argumentative Writing.

Section 005.

Instructor(s): Peggy Adler

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 006.

Instructor(s): Jee Yoon Lee

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/225/006.nsf

This writing course introduces you to key approaches to reading and writing short, detailed arguments. We will examine the logic of argument, counterarguments, and fallacious reasoning. The course grapples with current controversies presented from different perspectives, and promotes arguments that can be reasoned with thought and evidence (and not those emerging from overt prejudice or emotion). As you learn to identify the main elements of argument, you will be presenting your own arguments — in both oral and written forms — and putting into play the rhetorical tricks necessary to persuade. Topics under the purview of this class include terrorism, the environment, hate crimes, and Internet censorship.

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ENGLISH 225. Argumentative Writing.

Section 007.

Instructor(s): Angela Balla

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 008.

Instructor(s): Valerie Laken

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 009.

Instructor(s): Aric Knuth

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 225. Argumentative Writing.

Section 010.

Instructor(s): Valerie Moses (mosesvj@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

Methodical reasoning. Eloquent composition. A comprehensive analysis. Most people would agree that these are elements of a credible argument. But what about appeals to the emotions? Catchy phrases? Are these also important to an effective argument? If an argument is persuasive, if it sways the majority of the people, is it necessarily a good argument? In this course we not only learn the conventions of a successful argumentative paper, but we also study these conventions themselves. What is the emotional appeal of a rhetorical refrain? What cultural assumptions do surveys tap into? How does the art of rhetoric change over time and from one group of people to another? As a class, we test assumptions, question beliefs, and research ideas, but we also consider what makes an argument elegant and eloquent. Participation in class discussions, informal writing (either in-class assignments or response papers), and four formal essays are required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

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ENGLISH 225. Argumentative Writing.

Section 011.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 012.

Instructor(s): Madeleine Vala

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 013.

Instructor(s): Peggy Adler

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 014.

Instructor(s): Gene Laskowski

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 015.

Instructor(s): Tricia McElroy

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 225. Argumentative Writing.

Section 016.

Instructor(s): Gene Laskowski

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 017.

Instructor(s): Anne Berggren

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 018.

Instructor(s): Aric Knuth

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 019.

Instructor(s): Charlotte Pagni

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 020.

Instructor(s): Pat Rubadeau

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 021.

Instructor(s): Matt Nelson

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 022.

Instructor(s): Angela Balla

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 023.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 024.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 025.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 026.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 027.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 028.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 029.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 030, 031 — SECTIONS 030-032 ARE RESTRICTED TO CSP STUDENTS.

Instructor(s): Charles Lavelle Taylor III

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5: SECTIONS 030-032 ARE RESTRICTED TO CSP STUDENTS.

ENGLISH 225. Argumentative Writing.

Section 032.

Instructor(s): Ralph D Story

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/225/032.nsf

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5: SECTIONS 030-032 ARE RESTRICTED TO CSP STUDENTS.

ENGLISH 226. Directed Writing.

Instructor(s):

Prerequisites & Distribution: Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 3 credits.

Credits: (1-3).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor/department

ENGLISH 227 / THTREMUS 227. Introductory Playwriting.

Instructor(s): OyamO (oyamo@umich.edu)

Prerequisites & Distribution: (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Theatre and Drama 227.

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ENGLISH 229 / LHSP 229. Technical Writing.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 229 / LHSP 229. Technical Writing.

Section 001.

Instructor(s): Robert E Cosgrove (rcosgrov@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/229/001.nsf

This introductory course in Technical Writing focuses on rhetorical issues related to the production of technical/professional communication, and is also shaped by the individual and collective purposes of the class.

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ENGLISH 229 / LHSP 229. Technical Writing.

Section 002.

Instructor(s): Janice Yvonne Leach (leachj@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/229/002.nsf

No Description Provided. Contact the Department.

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ENGLISH 229 / LHSP 229. Technical Writing.

Section 004.

Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/229/004.nsf

Course description This course will ready students for all the essential writing assignments and communication they will likely face on the job, looking for a job, seeking grants, helping causes, and more. The class will employ real-life scenarios, collaborative projects, and creative thinking. Willingness to interact in web-based learning environment (Coursetools) essential, and though students will be permitted to present assignments on their own designed web pages, this skill will not necessarily be addressed in class. Bring your plans for the future!

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ENGLISH 229 / LHSP 229. Technical Writing.

Section 005.

Instructor(s): Patrice Marie Rubadeau (patruba@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/229/005.nsf

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 239. What is Literature?

Section 001 — Literature of the Americas.

Instructor(s): Susan Y Najita (najita@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5: Permission of department required. Permission of department chair required.

ENGLISH 239. What is Literature?

Section 002 — [Honors].

Instructor(s): Susan Scott Parrish (sparrish@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The aim of this course is to give you exposure to a range of interpretive methods as we read a number of literary forms taken from three distinct periods in English, Atlantic and U.S. literature. For example, as we read William Shakespeare's The Tempest, we will look at how modern critics and artists have analyzed the play in terms of: historical context, race and colonial or post-colonial theory, ecology, and gender; we will think about acting, staging, directing, and filming as forms of interpretation, and we will act out some of the scenes ourselves as well as watch parts of three filmic adaptations. Other texts will be Olaudah Equiano's Interesting Narrative, a late eighteenth-century Atlantic slave autobiography, Herman Melville's Benito Cereno, a short story/novella about a slave ship, and William Faulkner's The Sound and the Fury, a modernist novel with four separate narrators set in the early twentieth-century U.S. south, and a number of essays. We will therefore encounter a long historical sweep, and numerous different forms: the play, the autobiography, the short story, the essay, and the novel. You will bring in stellar reading questions to every class, write an analytical paper during three of the sections, and an autobiographical essay during the other section.

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ENGLISH 239. What is Literature?

Section 003 — Global Literature.

Instructor(s): Simon E Gikandi (gikandi@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

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 the idea of literature itself? To answer these questions we will read a selection of writers from Africa (Amos Tutuola, Chinua Achebe, Wole Soyinka, and Tsitsi Dangarembga), India (R. K. Narayan, Mulk Raj Anand, and Anita Desai), the Caribbean (Jean Rhys and Michelle Cliff), and the Pacific (Albert Wendt).

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ENGLISH 239. What is Literature?

Section 004 — Living With Nature.

Instructor(s): John R Knott Jr (jknott@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We will approach the question, "What is Literature?," by reading texts that deal in some way with the changing relationships of humans to the natural world. We will look at a variety of cultural perspectives within the literature of the United States and explore questions about how Americans have conceptualized and lived with nature. Readings will include fiction, "creative nonfiction," and some poetry. We will begin with short stories and essays (from a course pack), then take up texts including Mary Austin, Land of Little Rain; Willa Cather, My Antonia; Norman Maclean, A River Runs Through It; Leslie Marmon Silko, Ceremony; Mary Oliver, House of Light; Terry Tempest Williams, Refuge; and T.C. Boyle, A Friend of the Earth. Three short papers, a final examination, and occasional in-class writing.

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ENGLISH 239. What is Literature?

Section 005 — The Family.

Instructor(s): Michele Simms-Burton (mlsimms@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Our method throughout the academic term will be to approach the question "What is literature?" by asking, "What is [it we talk about when we talk about] literature?" 'Family' (and how that concept may vary) is the thematic lens through which we will study several contemporary novels. We will interrogate as well the notion of "home." We will begin by practicing our interpretive skills through "close readings" of Toni Morrison's Sula. This will be followed by an investigation of how earlier "literary" texts — e.g., Joseph Conrad's The Secret Sharer and Tennessee Williams' The Night of the Iguana -affect our reading of a novel, in this case Ron Hansen's Atticus. With Edwidge Danticat's The Farming of Bones we will turn our attention to the relationship between representations of history and subjectivity in historical fiction. We will enhance our reading of Marilynn Robinson's Housekeeping through a study of selected critical essays, and in the process practice identifying what is at stake in the arguments presented. Finally, we will put it all together in our discussion of Michael Cunningham's Flesh and Blood.

There will be three one-page position papers, and two 4-page papers due. Class attendance and participation are essential.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 006 — Telling Stories: A Need to Narrate.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We will want, in this course, 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 academic term 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 one of John Irving's narrators as well as Gloria Naylor's variety of narrators telling us the story of Mama Day. There will be two essays, a midterm and final exam required.

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ENGLISH 239. What is Literature?

Section 008 — How Short Stories Work.

Instructor(s): Eileen K Pollack (epollack@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Through close readings and analyses of a wide variety of short stories, we will develop a deep understanding of how this form works and gain insights into the ways in which all forms of fiction are written and received. Elements to be discussed include characterization, voice, style, structure, dialogue, setting, point of view, and theme. In addition to reading stories for every class, students will be required to keep a reading journal and write two four-page critical essays and a five-to-ten page short story.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 239. What is Literature?

Section 009 — Inventing Reality.

Instructor(s): Merla Wolk (merla@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~merla/honors239.htm

In this course, we will focus on the novel 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 novelist's goal, 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 "what's real" by foregrounding their inability to be certain about the conclusions to their texts (John Fowles) or denying having any privileged 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, Virginia Woolf's To the Lighthouse. Any additional texts will be listed on my web site (http:/www-personal.umich.edu/~merla/.)

Requirements: a reading journal, a 6-8 pg essay and a 10 (typed) pp. take-home exam; class participation, and regular attendance.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 010.

Instructor(s): Joyce Meier (meirejzz@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Looking specifically at works by writers who represent and/or discuss multiple racial backgrounds and identifications, this course asks such questions as: How do race, class, and gender shape our ideas about literature? How is "race" — and specifically, African American identity — constructed in these works? Who is this literature for? How do legal definitions of "color" shape a specific writer1s presentation of race? What does this literature tell us about power? How might each of us read a literary work differently, and why? Using several poems as our starting point, we will read and discuss works from a list that may include (but is not limited to) Harriet Jacob's account of her days as an enslaved person, James Weldon Johnson's The Autobiography of an Ex-Colored Man, Nella Larsen's Quicksand and Passing, Lillian Smith's Strange Fruit, William Faulkner's Go Down Moses, James MacBride's The Color of Water, and Gus Lee's China Boy.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 011.

Instructor(s): Edward Chamberlain

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will draw on the rich traditions of native American literature to open up questions about oral and written texts; the categories of poetry, prose and drama, as well as fiction and non-fiction; individual and collective literary production; and the character of literary canons. Poems, plays and prose from other literary traditions will be used to provide a context for discussion. Assignments will include two short papers, a longer term paper and an oral presentation. There will be no final examination.

Texts (ordered at Shaman Drum): Simon Ortiz, Woven Stone Joy Harjo, How We Became Human: New and Selected Poems Paula Gunn Allen, ed. Spider Woman's Granddaughters Nora Marks Dauenhauer, Life Woven With Song Leslie Marmon Silko, Storyteller Tomson Highway, Dry Lips Oughta Move to Kapuskasing

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ENGLISH 239. What is Literature?

Section 012.

Instructor(s): Michele Simms-Burton (mlsimms@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 239. What is Literature?

Section 013, 014 — Seas of Stories.

Instructor(s): Jennifer Wenzel (jawenzel@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/239/013.nsf

Our approach to the question "what is literature?" will focus more specifically on narrative: what it is and how it works. We'll work from the assumption that one of the simple joys that literature offers is a good story. But our discussions will aim toward a more complex understanding of the ways in which narrative appeals to readers, as well as the aesthetic, social, and political implications of judging a story to be a "good" one. Tackling questions of literary value will allow us to confront assumptions about what literature is or supposed to be, and how those assumptions vary over space and time.

The subtitle, seas of stories, refers to two aspects of narratives and the relationships among them: first, the notion of individual stories as "rivers" that form a vast ocean of related tales. In this course, "sea of stories" also refers to a group of stories that share a common theme or setting: the Atlantic Ocean, which joins both American continents to Europe and Africa.

Our texts will be (mostly) by twentieth century authors from Africa, India, the Caribbean, and the U.S.: Jamaica Kincaid, Caryl Phillips, John Edgar Wideman, Carter Revard, Leslie Marmon Silko, Salman Rushdie, Nuruddin Farah, Abdulrazek Gurnah, Zakes Mda, Tsitsi Dangarembga, J.M. Coetzee, Olaudah Equiano. Short writing assignments, both formal and informal, will facilitate critical engagement with the texts.

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ENGLISH 240. Introduction to Poetry.

Section 001 — [Honors].

Instructor(s): Laurence A Goldstein (lgoldste@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course, we shall study closely a variety of poems written in English from about 1600 to the present. The task of the course is a pleasurable and progressive understanding of how poems work, that is, what techniques poets use to articulate their visions of experience. We shall pay close attention to the language, forms, figures, and themes of verse, to literary-historical conditions that influence poetic craft, and to the intertextual connections that create constellations of poems across the centuries. The textbooks, Norton Introduction to Poetry (seventh edition) by J. Paul Hunter, and Poetic Meter and Poetic Form by Paul Fussell, will be our chief reading, in addition to handouts. Because this is a discussion class, regular attendance and participation are required. Other requirements include a series of short papers, supplemented by a reading journal, a midterm, and a final examination.

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ENGLISH 240. Introduction to Poetry.

Section 002.

Instructor(s): Gorman L Beauchamp (gormanb@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

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 and short daily writing assignments (a paragraph or so). The text will be the Norton Anthology of Poetry.

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ENGLISH 240. Introduction to Poetry.

Section 003.

Instructor(s): Linda K Gregerson (gregerso@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We live in a period of immensely rich poetic production in the United States: men and women of widely divergent cultural backgrounds, aesthetic persuasions, and registers of "voice" are producing lyric poetry of unprecedented variety and abundance. But how is a reader to find foothold among the hundreds of literary magazines and book publications that clamor for attention? How to negotiate between private pleasure (and solace and reflection) on the one hand and this jubilant (and contentious and contradictory) marketplace of verse on the other? How to find a listening post midst all this noise? This course is not conceived as an historical survey, but we will spend approximately half the term examining poems from another period of intense lyric production — the 16th and 17th centuries in England — because these poems provide a particularly vivid introduction to the resources, and resourceful violations, of traditional poetic form. In the second half of the term, we will read and discuss and listen to a group of recent American poems, ones I think are particularly good at suggesting the variety of contemporary pleasures, good too at constructing the margin of silence that poetry, like other forms of music, requires in order to be heard. From this modest, two-pronged historical perspective, we will explore some highly immodest questions about poetic form: How does it make meaning? How does it sound? What is its relationship to human imagination?

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ENGLISH 240. Introduction to Poetry.

Section 004.

Instructor(s): Richard L Hilles (rhilles@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

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. Through close readings — class discussions and written explorations of these texts - we will examine how poems achieve their power. Because seriously engaged classroom discussion is vital to this course, regular attendance and active participation are required. The Norton Anthology of Poetry will be our primary text, in addition to handouts.

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ENGLISH 240. Introduction to Poetry.

Section 005 — An Introduction to the Poetry of Deception (or: a case for a certain kind of cowardice).

Instructor(s): Thylias Moss (thyliasm@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Is it true that (literary) poetry is necessarily distinct from (literary) prose? Is there any accuracy to an assertion that there is something about (literary) poetry that distinguishes it so thoroughly that it can be recognized no matter how well it is disguised? Are there poetic imposters out there, making claims of "poetry" when no (literary) poetry is there at all? We will be detectives (cowardly in that our tools of investigation, indictment, prosecution, exoneration, etc., will be only language and language variants) seeking to isolate the "bugs," the markers, the evidence, etc. whereby poetry is highly suspected, strongly indicated beyond reasonable doubt. In this process of investigation, we will read several so-called novels or narratives in verse, possibly Slave Moth by Thylias Moss or Out of the Dust by Karen Hesse. Possibly Autobiography of Red by Anne Carson. Other texts will probably be selected from the following list: Canto General by Pablo Neruda, Thomas and Beulah by Rita Dove, At the Bottom of the River by Jamaica Kincaid, and perhaps an anthology, Verse and Universe: poems about science and mathematics, edited by Kurt Brown or The Norton Anthology of Contemporary Poetry. There will be five or six shorter essays, and one longer essay in which you will offer your closing arguments in the case you make for or against the "bugs" that you identify.

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ENGLISH 240. Introduction to Poetry.

Section 006.

Instructor(s): Macklin Smith (macklins@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

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.

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ENGLISH 240. Introduction to Poetry.

Section 007.

Instructor(s): John A Whittier-Ferguson (johnaw@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Too often poetry is seen as a literary form that only dedicated writers, academics, and their victims (students) read. I hope that the experience of reading and discussing poems in this course will encourage you to read poetry outside the classroom. The course will provide you with extensive practice in close reading that should challenge and develop your interpretive abilities. We will focus throughout the term on the designs of poetry — its formal aspects and its purpose: the means by which each poem makes its claims on a reader's attention. Discussions will repeatedly raise questions about the act of reading, of interpretation itself. How does a community of readers arrive at a consensus on the meaning of a poem? We will be working from The Norton Anthology of Poetry and a course pack. Assignments will include frequent oral reports and numerous short papers (2-3 pp.), and a final essay (10 pp.) on a poet of your choice. Participation in discussions is required; attendance is mandatory.

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ENGLISH 240. Introduction to Poetry.

Section 008.

Instructor(s): Andrea Patricia Zemgulys (zemgulys@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/240/008.nsf

No Description Provided. Contact the Department.

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ENGLISH 240. Introduction to Poetry.

Section 009.

Instructor(s): Lyall H Powers

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Poetry at its best is a mode of human communication, both vocal and scriptural, the aim of which is not the imparting of information per se — like "Directions" on a soup can or "Instructions" for an erector set — but rather intellectual and emotional engagement with some important human concern like love, folly, death, fun, etc. We will begin by looking at kinds of poems and how they work — like learning the rules and techniques of basketball or chess or dancing (and other pleasurable activities); then we will look at the range of treatment given those "human concerns" in poems written over the centuries. We will consider particularly how poems communicate what they want to engage us in and entertain us with. We will discuss these matters in class, write about them in a few short exercises (2 pp. each) and a couple of little essays (5 pp. each), and commit some good poetic example (say 50 lines) to memory. The course has little practical use: it just helps you understand human creatures (including yourself) and how they interact with each other — merely educational.

Text: The Norton Anthology of Poetry, shorter ed.

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ENGLISH 240. Introduction to Poetry.

Section 010.

Instructor(s): Sadia Abbas (abbass@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We will learn to read (and enjoy) poetry. The pleasures of poetry are considerable, but they are pleasures that are enhanced by careful attention to the details of poetic texts. We will focus on how poems generate their meanings, how sound affects sense, and the ways in which the form of a poem tells us how to read it. The emphasis of the course will be on learning to close-read poems of varying (mostly short) lengths. Readings will be from the Renaissance to the present.

Several short assignments, 3 (4-5) page papers. Students will be required to participate in class discussion; attendance is mandatory.

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ENGLISH 240. Introduction to Poetry.

Section 011.

Instructor(s): J. Edward Chamberlain

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will introduce a wide range of poetry, from various periods and cultural traditions, to familiarize students with aspects of poetic technique and build interpretive skills. The relationships between spoken and written language; between poetry and prose; and between poetry, painting and music will form part of the discussion. Assignments will include two short papers, a longer term paper and an oral presentation. There will be no final examination.

Text: A Pocketful of Poems, ed. David Madden

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ENGLISH 245 / RCHUMS 280 / THTREMUS 211. Introduction to Drama and Theatre.

Section 001.

Instructor(s): Jane Westlake (jewestla@umich.edu)

Prerequisites & Distribution: (4). (HU). May not be repeated for credit. No credit granted to those who have completed or are enrolled in RCHUMS 281.

Foreign Lit

Credits: (4; 3 in the half-term).

Course Homepage: http://www-personal.umich.edu/~jewestla/

See Theatre and Drama 211.001.

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ENGLISH 267. Introduction to Shakespeare.

Section 001 — SHAKESPEARE'S MANY FACES.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: Completion of Introductory Composition. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

We will, in this course, take a contemporary perspective on a varied selection of Shakespeare's plays. We will begin with a close reading of the plays themselves, as Shakespeare wrote them, and then we will begin watching videos of the plays as they are presented with diverse interpretations. We want to compare the way in which directors, producers, and actors revisit the great drama of the High Renaissance in England. For example, when we watch HAMLET as performed by Kenneth Branagh or Ethan Hawkes or Mel Gibson how do our individual perceptions of the play become enhanced? Or, as we watch Ian McKellen's production of RICHARD III in light of what we have learned about a contemporary society's view of this king illuminated by Al Pacino's SEARCHING FOR RICHARD, we want to explore the range of possibilities that Shakespeare's drama allows. We will continue our work by examining the following plays in addition to HAMLET AND RICHARD III: MERCHANT OF VENICE; TWELTH NIGHT; MEASURE FOR MEASURE; THE WINTER'S TALE; AND MUCH ADO ABOUT NOTHING.

The course will be all about discussion and more discussion. We will spend three hours a week discussing the plays; in addition, you will need to watch the videos of all the plays outside of class — I will schedule the same showing two nights/wk, so you will have a choice of the night that is convenient for you.

There will be short essays throughout the academic term and a comprehensive final exam.

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ENGLISH 270. Introduction to American Literature.

Section 001 — American Voices.

Instructor(s): Rosemary Ann Kowalski (rkowalsk@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

One of the major themes in American literature is the "Americanization" of ENGLISH 270 will follow the theme of Americanization beginning with Nathaniel Hawthorne, one of the writers in the traditional American canon, and continuing with novels and short stories from other American voices and talents including women, Chicano, Asian-, African-, Native- and European-American writers, selections which more fully represent "American" or United States literature. The course will be a mix of lecture and discussion, and all students are expected to read and be prepared to discuss the works in class. Requirements also include weekly reading responses, final and two short 4-5 page papers.

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ENGLISH 274 / CAAS 274. Introduction to Afro-American Literature.

Section 001 — African American Literature in the U.S., from 1773 to 1912.

Instructor(s): Xiomara A Santamarina (xas@umich.edu)

Prerequisites & Distribution: CAAS 111. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will study the emergence and early development of African American literature in the U.S. from 1773 to 1912. Through close readings of a wide variety of African American texts and genres, we will explore the constraints and opportunities that governed the writing of these texts. We will ask: how did these novels, autobiographies, and poetry speak to the different experiences and concerns of African Americans in the United States? How did they help blacks gain a national voice in a slaveholding and racially polarized nation? Writers include Frederick Douglass, Williams Wells Brown, Harriet Jacobs, Frances Harper, and Charles Chestnutt. Assignments will include short response papers and midterm and final exams.

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ENGLISH 285. Introduction to Twentieth-Century Literature.

Section 001.

Instructor(s): Peter M Bauland (pbauland@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical, and moral issues and preoccupations of the 20th century. The works we will study are eclectic and arbitrarily chosen; there is no attempt to be all-inclusive, nor will we limit ourselves to English and American authors. Our subject will be some representative works of modern thought and literature. We will place equal emphasis on what these works say and how they say it. Our purpose is to sharpen the insight and intelligence with which we read and analyze some of the probing "documents" of our time. Candidates for the reading list [availability of texts and reasonableness of prices will be factors] include works by Albert Camus, D.M. Thomas, E.L. Doctorow, Philip Roth, Saul Bellow, Friedrich Duerrenmatt, Jerzy Kosinski, Margaret Atwood or several others. Informal lecture and discussion, the amount of which will be influenced by the size of the class. Thoughtful, active participation "counts." Two papers [ca. 5-7 pp. each] and a final exam.

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ENGLISH 299. Directed Study.

Instructor(s):

Prerequisites & Distribution: Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 3 credits.

Credits: (1-3).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

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ENGLISH 305. Introduction to Modern English.

Section 001.

Instructor(s): Anne Curzan (acurzan@umich.edu)

Prerequisites & Distribution: Recommended for students preparing to teach English. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/305/001.nsf

This course introduces the systematic study of language and aims to help students step back and think about language in new ways. The course covers the many levels of structure working in language — from sounds to words to sentences to discourse — as well as the ways speakers learn and change language over time. Discussions will also focus on the social issues tied up in language, including attitudes to dialects, gender and language, the teaching of Standard English, and national language policies. The focus of much of the course will be words — how they work structurally and socially. We will address questions such as: Why isn't pfigr a possible English word? What is the difference between normalness and normality? When could boys be girls because girl meant 'child'? Words are one of the primary building blocks of language and by studying how they work, we can gain insight into the structure and meaning of language, as well as into the social and political power we wield with words. Course work will consist of frequent short assignments, two short papers, a midterm, and a final. No background in linguistics is required; the critical prerequisite for the course is genuine curiosity about the details of language.

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ENGLISH 309. American English.

Section 001.

Instructor(s): Richard Bailey (rwbailey@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/309/001.nsf

All languages ever spoken in the Americas are immigrant languages, and all have contributed to the American English we speak today. In our course we will study a variety of languages, especially those in the heritage of the students who enroll. (If your background is Polish, Hispanic, Korean, African-American, or almost anything else, there will be a special project for you in this course.) The United States has always been a multilingual nation, but our government has seldom been supportive of languages other than English. We will focus particularly on how linguistic diversity has been "managed" by official and unofficial actions through our national history. We will also look at future trends in linguistic diversity and consider their impact on us and the world. Two short papers, one major research paper, a midterm, and a final are required.

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ENGLISH 310. Discourse and Society.

Section 001 — The Henry Ford High School Project.

Instructor(s): William R Alexander (alexi@umich.edu)

Prerequisites & Distribution: ENGLISH 124 or 125. Permission of instructor required. (3). (Excl). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

ENGLISH 310 teaches students to use their creative skills and social commitments to facilitate the powerful expressiveness of high school youth. It is rooted in respect for the youths' abilities and voices, in excitement about an educational process that promotes creativity, and in imaginative collaboration with the school faculty and administration. Working two to three hours a week at Henry Ford, and Cooley, High Schools in Detroit, and at the Adrian and Maxey Training Schools, Boysville, and Vista Maria, students assist youth in creating their own video tapes, plays, photographs, music, writings, art, etc. In two hour class meetings we discuss background reading, analyze and develop our work with the youth, and teach each other hands-on methods. A further hour is devoted to meetings between each site team and the instructor. No exams. Admission to the class is by permission of instructor. Check 3275 Angell Hall for specially posted hours for interviews for this course.

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ENGLISH 313. Topics in Literary Studies.

Section 001 — Fantasy.

Instructor(s): Eric S Rabkin (esrabkin@umich.edu)

Prerequisites & Distribution: (4). (HU). May be elected for a maximum of 8 credits. May be elected more than once in the same term.

Credits: (4).

Course Homepage: http://www-personal.umich.edu/~esrabkin/313Ff03syl.html

This course explores 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 course requires attendance at two lectures and one discussion section per week. The written work for the course will revolve around a series of short papers and two medium-length papers. There will be no exams. Texts include: Household Stories of The Brothers Grimm; Tales of E. T. A. Hoffmann; The Portable Poe; The Alice books, Lewis Carroll; The Island of Dr. Moreau and Best Science Fiction Stories, H. G. Wells; The Complete Stories, Franz Kafka; Orlando, Virginia Woolf; The Erasers, Alain Robbe-Grillet; The Tolkien Reader; The Phantom Tollbooth, Norton Juster; Cosmicomics, Italo Calvino; Like Water for Chocolate; Laura Esquivel, and Woman on The Edge of Time, Marge Piercy.

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ENGLISH 313. Topics in Literary Studies.

Section 010 — The Utopian.

Instructor(s): Vivasvan Soni (vivasvan@umich.edu)

Prerequisites & Distribution: (4). (HU). May be elected for a maximum of 8 credits. May be elected more than once in the same term.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/313/010.nsf

Today, we are inundated with signs that we have arrived at the end of history. Whether we are confronted with retro fashions, apocalyptic movies, or dystopian science-fiction novels, we are given the message that nothing is more impossible than to imagine the future. Despite the fact that we live in a world of extreme injustice, inequity, and unhappiness, we can only imagine the future as an indefinite continuation of the present. As individuals who are given over to this apparently immutable world, we are offered the poor consolation of expressing our freedom by choosing either to embrace this future or to resign ourselves to it, leaving the world untouched in its Olympian indifference. In an increasingly complex world over which we feel we have no control, ethics is reduced to mere position taking, or sharply delimited to mean tending to the welfare of those in our immediate vicinity. But if it has become necessary to understand the world as properly global, then the most pressing task of any ethics today is to insist on our responsibility to those we cannot see rather than to our neighbors, and to try to imagine a future which seems unthinkable.

In this class, I propose to examine closely the much-maligned concept of the utopian, and its necessary form of manifestation as utopian literature, from the perspective of the need to assume responsibility for the future. Only through the fictionality of literature is this kind of ethical relation possible. Historically, ethical theories have for the most part accepted the world as it is and asked how the individual's behavior must be transformed, but utopian literature insists that this is never sufficient, though always necessary.

I will introduce students to the tradition of utopian literature and read exemplars of this tradition as particular kinds of ethical responses to historical situations, whether it be Plato's response to the polis, Harrington's to turbulent seventeenth century England, or Sarah Scott's to the patriarchal England of the eighteenth century. Such texts are the consciences of their times, in their radical indictment of the injustices of the present, but they do more than that. They also engage in the almost impossible labor of imagining how things might be different.

The class will also focus on the multiplicity of utopias, and their historical specificity. Each utopian text has a vision of justice, the ethical life, human relations, and above all happiness, which differs in important ways from all the others, and is conditioned by the historical moment in which it arises. Contrary to the dogma that utopias are totalitarian, and do violence to the idea that "anything is possible" in the future, utopias are what make the future possible by guiding us toward it, and their very multiplicity protests against the idea that only one particular kind of future is desirable. But utopian thinkers also realize that it is not enough to affirm this multiplicity and stop thinking about the future; for them, nothing is more urgent than this thought of the future. They refuse to be content with the abstract niceties of an empty future where anything is possible, but take on the concrete task of making the future arrive.

But we will also consider why certain features of utopias seem to remain constant, especially the elimination of property relations. Is property inherently unjust? Is it possible to imagine a utopia where property is not abolished, and do not all utopias surreptitiously return to property forms, which seems to form the limit of their ability to imagine a different world? Is property somehow a constitutive feature of social relations?

The last theme of the class will be to consider the obstacles to utopian thinking, ranging from the theorists who see in the utopian only an abdication of responsibility (most importantly and surprisingly, Marx), to the representational difficulties which are internal to the genre itself. Why have most utopias only been able to imagine the future as an elsewhere (u-topia), rather than the elsewhen (uchronia, to coin a barbarous neologism) of the future itself? Why have most utopias, until very recently (Kim Stanley Robinson), found it impossible to narrate the transition to utopia? And why has the historical denigration of utopian thinking attained such force that today, utopian fiction seems impossible and outmoded?

SELECTED TEXTS

  • Classical Political Utopias
    • Plato. Republic
    • More, Thomas. Utopia
    • Bacon, Francis. New Atlantis.
    • Harrington, James. Oceana.
  • Feminist Utopias
    • Cavendish, Margaret. The Blazing World.
    • Scott, Sarah. Millennium Hall.
    • Gilman, Charlotte Perkins. Herland.
  • Utopias Addressing Questions of Race and Sexuality
    • Butler, Octavia. The Parable of the Sower.
    • Le Guin, Ursula. The Dispossessed.
  • Theorists and Critics of Utopia
    • Marx, Karl. Economic and Philosophical Manuscripts (Short selections on communism.)
    • ----. The Paris Commune.
    • Engels, Friedrich. Utopian and Scientific Socialism.
    • Buber, Martin. Paths in Utopia.
    • Bloch, Ernst. The Principle of Hope. (selections)
    • ----. The Spirit of Utopia. (selections)
    • Jameson, Fredric. The Seeds of Time.
    • ----. "Reification and Utopia in Mass Culture."

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ENGLISH 313. Topics in Literary Studies.

Section 013.

Instructor(s): Joshua Miller (joshualm@umich.edu)

Prerequisites & Distribution: (4). (HU). May be elected for a maximum of 8 credits. May be elected more than once in the same term.

Credits: (4).

Course Homepage: No homepage submitted.

In this course, our focus will be on the painful and intensely illuminating process of storytelling that transmits the experience of traumatic events — such as slavery, the Holocaust, rape, internment, expulsion, and lynching — to later generations. These novels, films, and musical works show that private, individual memories are often reexperienced by the storyteller's descendents in unexpected ways. In such works, individuals who have been told of crimes committed against their parents or grandparents experience the violence of these events in their own lives.

We'll examine the ways that writers, directors, musicians, and artists turn private memories into public documents — novels, films, songs, images — in order to demonstrate the lingering effects of ancestral memories on present-day lives. These stories raise important questions about art and the process of producing collective memory.

What is the impulse or objective of intergenerational stories? How do these artists come to terms with the burden of responsibility that such stories produce? What sort of creative methods of artistic expression do the inheritors of these memories invent in order to live up to this legacy of responsibility? How might intergenerational stories be foundational to identity?

We'll read texts featuring characters that seek to understand how their identities have been shaped — consciously and unconsciously — by inherited memories that they experience as their own. The readings will include novels, short stories, and poems by William Faulkner, Kate Chopin, Jean Toomer, Langston Hughes, Allen Ginsberg, John Okada, Gayl Jones, Leslie Marmon Silko, and Art Spiegelman, as well as films and jazz/blues recordings. Film screenings will be scheduled outside of class meetings; film and musical materials will also be available at the Film and Video Library and on reserve.

Course requirements include informed participation, quizzes, one short essay (2-3 p.), and a final essay (10-12 p.). For attendance and waitlist policies, see course website.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 315 / WOMENSTD 315. Women and Literature.

Section 003 — WOMEN IN THE 20TH CENTURY.

Instructor(s): Abbas

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Writers as various as A.S. Byatt, Angela Carter, Hilary Mantel, Arundhati Roy, Nayantara Sahgal, Ama Ata Aidoo, Bessie Head, and others articulate the difficulties and the promise of modernization for women in the twentieth century. Although these writers hail from different cultural and political contexts, they often manifest similar interests and preoccupations. How do their different cultural contexts shape their writing? What does it mean to speak of them together? How are urban and rural life presented and examined in their work? How do they treat political movements of the twentieth century? What does it mean to speak of these authors together? We will ask these and other questions. We also will pay special attention to the specificities of their style, and, in many cases, to their formal ambition. Two 4-5 page and one 6-8 page essay; some short assignments. Attendance is mandatory.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 317. Literature and Culture.

Section 001 — Constructing Ireland: Nationalism and Society in Modern Irish.

Instructor(s): George J Bornstein (georgeb@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

This course will study the twentieth-century Irish Literary Renaissance within the twin contexts of Irish literature and Irish history rather than the more usual contexts of British literature and international Modernism. Reading will include poetry by W. B. Yeats, fiction by James Joyce and Elizabeth Bowen, and plays by Lady Gregory, John Synge, and Sean O'Casey, as well as less well- known materials by writers like Douglas Hyde, Patrick Pearse, and Katharine Tynan. We will also read a small amount of history and historical documents, of popular culture (cartoons and songs), and of theoretical material. Bearing in mind that Ireland was England's oldest and longest-held colony, we will study particularly the relations between literature and nationalism, between Irish and English contexts for Irish literature, and between nationality and cosmopolitanism in Irish works of this period. Along the way, we will explore hybridity as a model for thinking about culture, using especially Irish, Black, and Jewish examples. Written work will depend on class size, but will include at least a paper and a final examination, and probably either an hour exam or a second paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 317. Literature and Culture.

Section 002 — How to be Gay: Male Homosexuality and Initiation.

Instructor(s): David M Halperin (halperin@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

Just because you happen to be a gay man doesn't mean that you don't have to learn how to become one. Gay men do some of that learning on their own, but often we learn how to be gay from others, either because we look to them for instruction or because they simply tell us what they think we need to know, whether we ask for their advice or not.

This course will examine the general topic of the role that initiation plays in the formation of gay male identity. We will approach it from three angles: (1) as a sub-cultural practice — subtle, complex, and difficult to theorize — which a small but significant body of work in queer studies has begun to explore; (2) as a theme in gay male writing; and (3) as a class project, since the course itself will constitute an experiment in the very process of initiation that it hopes to understand.

In particular, we will examine a number of cultural artifacts and activities that seem to play a prominent role in learning how to be gay: Hollywood movies, grand opera, Broadway musicals, and other works of classical and popular music, as well as camp, diva-worship, drag, muscle culture, taste, style, and political activism. Are there a number of classically "gay" works such that, despite changing tastes and generations, all gay men, of whatever class, race, or ethnicity, need to know them, in order to be gay? What is there about gay identity that explains the gay appropriation of these works? What do we learn about gay male identity by asking not who gay men are but what it is that gay men do or like? One aim of exploring these questions is to approach gay identity from the perspective of social practices and cultural identifications rather than from the perspective of gay sexuality itself. What can such an approach tell us about the sentimental, affective, or subjective dimensions of gay identity, including gay sexuality, that an exclusive focus on gay sexuality cannot?

At the core of gay experience there is not only identification but disidentification. Almost as soon as I learn how to be gay, or perhaps even before, I also learn how not to be gay. I say to myself, "Well, I may be gay, but at least I'm not like that!" Rather than attempting to promote one version of gay identity at the expense of others, this course will investigate the stakes in gay identifications and disidentifications, seeking ultimately to create the basis for a wider acceptance of the plurality of ways in which people determine how to be gay.

Additional note. This course is not a basic introduction to gay male culture, but an exploration of certain issues arising from it. It assumes some background knowledge. Students wishing to inform themselves about gay men and gay culture in a preliminary way should enroll in an introductory course in lesbian/gay studies.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 317. Literature and Culture.

Section 003 — Literature of the American Wilderness. Satisfies the American Literature requirement for English concentrators. Meets with ENVIRON 377.001.

Instructor(s): John R Knott Jr (jknott@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

What is wilderness, and how have American attitudes toward wilderness evolved? The course will explore these questions and others about how Americans (including Native Americans) have perceived the natural world and their relationship to it, as these arise from texts ranging from the earliest writing about America to late twentieth-century responses to Alaska. Readings will include texts illustrating the place of wilderness in the American imagination, such as Thoreau's The Maine Woods (selections), Muir's My First Summer in the Sierra, Cather's O Pioneers!, Leopold's Sand County Almanac, Faulkner's The Bear, and Momaday's House Made of Dawn. We will also read poetry (Snyder, Berry, Ammons, Oliver) and selections from twentieth-century nature writers (including Abbey, Dillard, Lopez). Students will be expected to keep a weekly journal, to write a paper of about ten pages, and to take a final examination. Anyone with an interest in the literature and the issues it raises is welcome.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 004 — Anarchy in the U.S.A.: Exploring Radical Thirties Narrative. Meets with American Culture 301.001.

Instructor(s): John H McGuigan

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/317/004.nsf

An attempt to "think historically" motivates this course, an attempt we'll engage both in theoretical terms (What can it mean to think historically?) and in practical terms (How can one do it?). In some ways, we can change the past, and do so every day — not in terms of what happened but in our understanding of it. Using the University's Labadie Collection, we'll confront these issues by exploring the complex relationship between art and politics, discovering the concrete artifacts that surround and inform politically-minded U.S. literature written in the 1930s. Each looks back over the first forty years of the century, a particularly rich period that saw an explosion of oppositional European art movements (Cubism, Dada, Surrealism, etc.) and political movements (socialism, anarchism, fascism, etc.) find fertile ground in this country. Studying novels alongside art works of various media, contemporaneous reactions, and primary documents from radical political movements lets us examine not only relationships between specific art trends and specific political positions of the past, but also the politics of identifying and analyzing such relationships — in effect, the making of history. By adding a political dimension, our searches may lead us to consider the extent to which a given historical economic situation promotes a specific range of political and artistic expression. How do these modes of expression speak to each other or to the historical moment?

Assignments for this course include three short papers and a reading journal. Some of this class' workload comes from treasure-hunting in the University's library and museum holdings. Course readings will include novels such as For Whom the Bell Tolls (Hemingway), Pity Is Not Enough (Herbst), Blood on the Forge (Attaway), Jews Without Money (Gold), and The Big Money (Dos Passos); news clippings, pamphlets, and other archival materials; and short theoretical pieces.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 005 — Globalization and Literature.

Instructor(s): Richard W Bailey (rwbailey@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/317/005.nsf

"Healthy languages are always borrowing from each other," writes a prominent scholar, and, just as biodiversity sustains healthy ecosystems, so linguistic diversity nourishes civilization. Over the next century, about two languages will die every month, and a century from now the linguistic landscape will be very different from what it now is. English plays a role, and the use of English is increasing all over the world. Yet it is multilingualism that is growing even more rapidly, and many nations, large and small, are recognizing and responding to this trend. What transformations are involved in this massive change? What is the role of English in it? How have policy makers and poets responded? We will begin by reading: Vanishing Voices: The Extinction of the World's Languages (Oxford University Press). Then we will turn to a course pack and case studies. This small class is offered as part of the "globalization" curriculum and participants are expected to participate in the major events offered through it. There will be a midterm, a final, and a major paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 319. Literature and Social Change.

Section 001 — Rhetorical Activism & U.S. Civil Rights Movements.

Instructor(s): Alisse S Theodore (alisse@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~alisse/ENGL319f03/index.html

The signers of the United States Constitution recognized the power of rhetorical activism when they declared freedom of expression the most important right of United States citizens. Susan B. Anthony and dozens of other women spent eight decades using the only power they had, the power of language, to ensure women their right to vote in this country. The persuasive eloquence of Martin Luther King, Jr. changed this nation's consciousness as well as the experience of civil rights for all of its citizens. And although the United States did not ratify the Equal Rights Amendment, people like Shirley Chisholm and Betty Friedan forever altered the expectations and opportunities for women and men. How did these ordinary people accomplish extraordinary things by speaking up and speaking out? More broadly, how do people use language to define, reform, and even revolutionize politics and society? That will be our central question as we study texts representing a range of positions from several U.S. civil rights movements: the early woman's rights, antislavery, women's liberation, 1960s civil rights, and gay rights movements. Work for this course includes weekly readings (hard copy and online), exams, and quizzes.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 319. Literature and Social Change.

Section 002 — Literature and Revolution.

Instructor(s): Vivasvan Soni (vivasvan@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/319/002.nsf

One of the most pervasive experiences of the seventeenth and eighteenth centuries is the experience of revolution. At least five major revolutions occur in this period: the English Revolution, the Glorious Revolution, the American Revolution, the French Revolution, the Haitian Revolution. Each revolution is different in character from all the others, and each acquires a distinct symbolic significance of its own, in part through its representation in literature. This class will examine the literature from this period which specifically addresses the experience of revolution, in order to examine both how the experience of revolution affects literary representation, and what role literary representation plays in shaping a revolution and giving it significance. We will try to understand how literature struggles to create a language for making sense of the traumatic event which is revolution, and how the appropriation of literary or aesthetic representations can be crucial to the success or failure of revolutions. Although much of the reading for the class will be "literary," we will not be bound by such conventional genre distinctions; rather we will study a variety of different texts which speak to the experience of revolution, which express the hopes and fears of revolution, looking carefully in each case at the techniques of representation, the rhetoric, the narrative styles, the tropes of revolutionary discourse. The question that will guide us throughout is, how do the various forms of literary representation give shape and meaning to the experience of revolution?

Readings will include, but not be limited to, the following: Milton, Paradise Lost and Tenure of Kings and Magistrates Hobbes, Leviathan (selections) Pope, Essay on Man Scott, Waverley Burke, Speech on Conciliation and Reflections on the Revolution Paine, Common Sense Jefferson, The Declaration of Independence Wordsworth, Preface to Lyrical Ballads and Prelude (selections) Blake, America and Europe Shelley, Prometheus Unbound Rousseau,Discourse on the Origin of Inequality Brockden Brown, Edgar Huntly Kleist, Betrothal in Santo Domingo CLR James, The Black Jacobins (Selections)

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 321. Internship.

Instructor(s):

Prerequisites & Distribution: Concentration in English. (1). (Excl). (EXPERIENTIAL). May be repeated for credit for a maximum of 4 credits. Offered mandatory credit/no credit.

Credits: (1).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 323. Creative Writing.

Section 001 — Poetry.

Instructor(s): G Keith Taylor

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is a poetry writing workshop intended for student writers with some experience in the art. The hope is that these writers will produce new work and participate in the critical discussion of their own work and that of their colleagues. Members of the class will submit new poems every week for evaluation. A few formal and thematic assignments will be given as needed to help focus some of the writing.

Although the on-going process of writing poems is the central focus of the course, a fair amount of reading and some critical writing will also be required. Final evaluations will be based on 25-30 pages of poetry that has gone through some level of revision, 3 short papers about poetry readings, one classroom presentation on a living poet, and two short classroom presentations on different poetic forms or devices.

In order to enroll in this course, students need 1) Get on the Waitlist. 2) Submit a 10-15 page portfolio of poetry or prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on Tuesday, September 2nd. 3) When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 323. Creative Writing.

Section 002 — Fiction.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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 to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

In order to enroll in this course, students need to:

  • Get on the Waitlist.
  • Submit a 10-15 page portfolio of prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on September 2nd.
  • When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 323. Creative Writing.

Section 003 — Fiction.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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 to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

In order to enroll in this course, students need to:

  • Get on the Waitlist.
  • Submit a 10-15 page portfolio of prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on September 2nd.
  • When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 323. Creative Writing.

Section 004 — Poetry.

Instructor(s): Richard L Hilles (rhilles@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This is an intermediate-level workshop in poetry writing. The focus of this class will be on writing and discussing your original work, and we will also read and discuss a variety of other poems from other sources, time periods, and traditions. Your final grade will be based on workshop participation, written critiques, and a final poetry portfolio of fifteen to twenty pages.

To enroll in this course, students will need to waitlist on Wolverine Access and submit 10-15 pages of poetry to the Main Office, room 3187 AH by Sept. 5th at noon.

All applicants will be notified of admittance or non-admittance by email soon thereafter.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 323. Creative Writing.

Section 005 — Fiction.

Instructor(s): Brenda K Marshall (bkmarsh@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this writing seminar we will read and discuss selected short stories, write several pieces of fiction, and critique each other's work. We will begin the semester by reading and writing mini-narratives (or short short stories). In the process we will focus on understanding and using a vocabulary through which to discuss the craft of fiction. As the semester progresses we will move on to longer stories. Evaluation will be based on attendance and participation, written critiques, and a final fiction portfolio of approximately 30 pages. The text we will use is The Best American Short Stories 2002, ed. Sue Miller.

In order to enroll in this course, students need to:

* Get on the Waitlist.

* Submit a 10-15 page portfolio of poetry or prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on Tuesday, September 2.

* When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 1, 5: Permission of department required.

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 001 — The Mask.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

In Nathaniel Hawthorne's "The Minister's Black Veil," a parable in which a good parson comes out of his house one morning wearing a veil over his face, the Townspeople respond by whispering to each other: "He has changed himself into something awful, only by hiding his face." The center of our discussions in this writing class will be to address the questions of created personas, of inspired identities. The characters we read about will help us understand lives we haven't lived, whereas our own writing, perhaps, will be inspired by the lives we have lived or want to live, by the "stories" we want to tell. Each individual community we belong to (for example: friend, student, child, sibling, religious preference [or non-preference], sexual partner) encourages us to play a different role. So many communities. So many roles. Our readings will have us, in small ways, experience the lives of different ethnic groups, genders, and sexual orientations. Our writing will need to use this experience of the other as we attempt to create a rhetorical "I" to narrate our own essays. Reading contemporary literature, discussion, writing, and more writing will be the mainstay of the class. Assignments include: approximately three 7-8 page drafts of essays and a weekly peer response from each student. The readings will be selected from a diverse group of authors of different genders, ethnic backgrounds, socio-economic classes, sexualities, and religions.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 002.

Instructor(s): Jacqueline Ellen Livesay (jlivesay@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

The goal of this course is to provide opportunities for students to learn to write with increased insight, power, and assurance. Given that goal, I've tried to create a course that

  1. gives students much writing practice (though not always as formal papers),
  2. allows students to work independently on topics of their own choosing,
  3. offers examples and inspiration from some of the finest prose stylists, and
  4. keeps the whole class sharing ideas and helping each other with writing throughout the term.

Readings, discussion, in-class writings, and workshopping of one another's papers will be the primary focus in the classroom. Attendance and participation are essential, given the collaborative nature of the work.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 003 — Finding Your Voice.

Instructor(s): John W Rubadeau (jwr@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

Much like the ENGLISH 225 courses I have taught over the last dozen years, this course will focus on (1) improving your vocabulary, (2) strengthening your grammatical, mechanical, semantical, and syntactical skills, and (3) helping you find your voice. I insist that you make the private public (ideally, to illustrate a universal truth or a general principle) in order that you establish your authority to comment on the topic of your essay, that you pen an essay which is not generic, and, most importantly, that you write with a human voice (not dead, wooden prose written by an obscurantist majoring in philosophy [mea culpa to any philosophy majoring reading this course description]). Although this course is not difficult, it is perhaps the most labor-intensive course you will take. Quid pro quo — be prepared to work hard for me, and, in the process, you'll learn much about writing. The reading material for this course is your peers' writing. This will be a fun, interesting, profitable, and practical course. Text: The American Heritage Dictionary, Fourth Edition

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 004 — Finding Your Voice.

Instructor(s): John W Rubadeau (jwr@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

Much like the ENGLISH 225 courses I have taught over the last dozen years, this course will focus on (1) improving your vocabulary, (2) strengthening your grammatical, mechanical, semantical, and syntactical skills, and (3) helping you find your voice. I insist that you make the private public (ideally, to illustrate a universal truth or a general principle) in order that you establish your authority to comment on the topic of your essay, that you pen an essay which is not generic, and, most importantly, that you write with a human voice (not dead, wooden prose written by an obscurantist concentrating in philosophy [mea culpa to any philosophy concentrator reading this course description]). Although this course is not difficult, it is perhaps the most labor-intensive course you will take. Quid pro quo — be prepared to work hard for me, and, in the process, you'll learn much about writing. The reading material for this course is your peers' writing. This will be a fun, interesting, profitable, and practical course. Text: The American Heritage Dictionary, Fourth Edition

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 005 — Life-Stories (The Personal Essay).

Instructor(s): Joyce Meier (meierjzz@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

This course engages students in the process of collecting and writing life-stories, including their own. After two weeks of reading, reflection, and training, students will begin weekly visits to two Detroit sites, to mentor and facilitate life-writing activities with schoolchildren and elderly there. In class, students will reflect deeply in discussion and in writing on their community work, as well as read and comment on personal essays by others (i.e., Maya Angelou, Nancy Mairs, Richard Rodriguez, Annie Dillard, among others). We will focus on how differences in race, ethnicity, gender, and physical ability inform these essays; we will address such questions as: how is life-story linked to body, place, and tradition? How do people sort and make sense of their lives? What do they choose to remember, or to forget? Why and how is the making of life-stories so important to us? In addition to weekly journal entries on the intersection between our community-based life-work and our own lives, students will pre-write, peer-review, and complete their own 10-page personal essay by the course end.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 006.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 007.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 008.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 009.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 010.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 011.

Instructor(s): ,

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 326. Community Writing and Public Culture.

Section 001.

Instructor(s): Joyce Meier (meierjzz@umich.edu)

Prerequisites & Distribution: ENGLISH 124 or 125. (3). (CE). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 327 / THTREMUS 327. Intermediate Playwriting.

Instructor(s): OyamO (oyamo@umich.edu)

Prerequisites & Distribution: ENGLISH 227. (3). (Excl). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Theatre and Drama 327.

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ENGLISH 331(413) / FILMVID 331. Film Genres and Types.

Section 001 — Horror Films.

Instructor(s): Ira Konigsberg (ikonigsb@umich.edu)

Prerequisites & Distribution: FILMVID 230 or 236. (3). (HU). May be repeated for credit for a maximum of 9 credits. Laboratory fee ($50) required.

Credits: (3).

Lab Fee: Laboratory fee ($50) required.

Course Homepage: No homepage submitted.

See Film and Video Studies 331.001.

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ENGLISH 349(449) / THTREMUS 323. American Theatre and Drama.

Instructor(s): E.J. Westlake (jewestla@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: http://www-personal.umich.edu/~jewestla/

See Theatre and Drama 323.001.

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ENGLISH 350 / MEMS 350. Literature in English to 1660.

Section 001 — ENGLISH MASTERWORKS OF THE MIDDLE AGES AND RENAISSANCE. satisfies the Pre-1600 requirement for English concentrators.

Instructor(s): Peter M Bauland (pbauland@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will be an intensive study of some representative masterworks of the Middle Ages and Renaissance in England. While dealing with these texts analytically, we will also explore them in their historical, social, political and cultural contexts. Readings will include a substantial selection from Chaucer's CANTERBURY TALES [in Middle English; learn to read it and dazzle your friends], SIR GAWAIN AND THE GREEN KNIGHT, some medieval plays, Marlowe's DOCTOR FAUSTUS, a selection of Renaissance lyric poetry [e.g., Spenser, Shakespeare, Donne, Herbert, Marvell], and a Jacobean play by Jonson or Webster, one by each if time allows. English 350 devotes three hours a week to lecture, accompanied by as much interaction as the size of the class allows and the vitality of the bodies in it generates. Groups of twenty-five students will meet a fourth hour under the leadership of seasoned doctoral student GSIs to discuss the material further and to work on the writing assignments for the course. Each student will write two essays of approximately five pages each, a one-hour in-class essay at midterm and a final examination. Students who have taken ENGLISH 370 with Prof. Bauland in Winter Term of '02 or '03 should NOT enroll for this section of ENGLISH 350.

Approximate book cost: $50 - $60.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 367 / MEMS 367. Shakespeare's Principal Plays.

Section 001.

Instructor(s): Ralph G Williams (fiesole@umich.edu)

Prerequisites & Distribution: (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The family — its formation, tenderness, strains, collapse, and reformation — is perhaps Shakespeare's favorite form, social and symbolic, for the construction of meaning and evocation of feeling. We will especially observe his ceaseless exploration of the dynamics of the family in our reading of a selection of history plays, comedies, tragedies, and romances, from the whole span of his career. Other foci for discussion will include his dramaturgy, and his matchless way with words. Plays to be read will include: Richard II, I&II Henry IV, Henry V, Twelfth Night, Midsummer Night's Dream, As You Like It, Othello, King Lear, Hamlet, Antony and Cleopatra, Measure for Measure, Pericles, A Winter's Tale, and The Tempest.

Course requirements will include lively engagement in discussion, two essays (5-7 pages each), and two examinations.

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ENGLISH 370. Studies in Medieval and Renaissance Literature.

Section 001 — History of Early English Poetry. [Honors].

Instructor(s): Macklin Smith (macklins@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected for a maximum of 8 credits. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

After a brief survey of English prose from the 14th to the 18th Century, we shall study the following forms from the same period: alliterative verse, rhymed couplets, various stanza forms, sonnets, and blank verse (narratives and plays). The emphasis will be on shifts of style through time, on trying to define and explain these shifts in terms of cultural forces and authorial talents. Poets will include Langland, Chaucer, Sidney, Spenser, Shakespeare, Donne, Milton, Swift, and Pope. Everyone will need to learn to read Middle English, to scan verse, and to gain familiarity with various terms for characterizing poetic style. Everyone will be asked to engage in detailed textual analysis as well as to write on broader issues. A substantial essay reporting original research will be required. Required texts: The Norton Anthology of Literature, Vol. I, and a course pack.

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ENGLISH 370. Studies in Medieval and Renaissance Literature.

Section 002 — Things Unattempted Yet in Prose or Rhyme.

Instructor(s): Ralph G Williams (fiesole@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected for a maximum of 8 credits. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will engage with literature from Beowulf to Paradise Lost. Our major theme for 2003 will be the way in which even the first of these represents a reworking of powerful earlier traditions — and then is available to later works which contest its authority. We will study "tradition," in short, and the ways by which "the Last" becomes "the Next."

We shall read some of the most dazzlingly interesting and beautifully constructed works in any language at any time. We will start with Beowulf, and continue with works by (among others) Chaucer, Marlowe, Spenser, Shakespeare, Donne, and Milton. The course will involve much discussion, some group projects, and (for those who wish to do so) a special hour set aside each week to discuss Shakespeare's Sonnets in the context of the European and English sonnet tradition.

There will be two essays required, each of 5-7 pages, oral reports, and a final examination.

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ENGLISH 370. Studies in Medieval and Renaissance Literature.

Section 003 — Pagan Pasts and Christian Presents: Medieval Irish, Norse, and British Literature.

Instructor(s): Amy Eichhorn-Mulligan

Prerequisites & Distribution: (4). (Excl). May be elected for a maximum of 8 credits. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

  • What happens when religion and cultural heritage conflict?
  • How do you preserve your native myths, stories, and sagas, the legends of your gods and goddesses, heroes and heroines, when, according to the codes of the new religion, there is no valid place for them?
  • How do you rewrite your history and craft origin legends to create a legitimate and enviable cultural identity?
  • What does being male or female mean in Irish, Norse and British heroic and mythological traditions?
  • How does the presentation of the hero and heroine shift or remain stable from age to age and culture to culture?
  • What differences, as well as similarities, do we find between medieval Irish, Norse and British texts, and why?

By working with selected prose and poetic texts from medieval Ireland, Scandinavia and Britain, in this course we will answer these questions as well as cover more general issues relating to the medieval literatures under study. Though our focus will be literary, we will also consider the ways that transformation or syncretization of pagan and Christian elements played itself out in terms of material culture, i.e. carved crosses, book illumination, and church decoration. All texts will be read in English translation.

Requirements for this class include: journal entries in which aspects of the readings are explored and topics are prepared for discussion, two papers (5-7 pages), an oral presentation, and active class participation.

Texts will include: Beowulf, Geoffrey of Monmouth's History of the Kings of Britain, selected Anglo-Saxon poems from The Anglo-Saxon World, including The Dream of the Rood, The Poetic Edda, Snorri Sturluson's Edda, Egil's Saga, The Táin Bó Cuailnge, and Irish selections from the anthology, The Celtic Heroic Age.

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 001 — Enlightenment. Meets with Honors 493.003.

Instructor(s): Marjorie Levinson (cecily@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The aim of this course is to acquaint students with a key term from the history of ideas, a term with special relevance to the study of the arts in the modern periods ("modern" meaning early 19th century through the present). That term is "Enlightenment," a body of ideas associated with reason, nature, the scientific method, secularism, liberalism, skepticism, and many other movements and values still dominant in the cultures of the west. If there is one synonym for Enlightenment, that might be "critique"; appropriately, our study of Enlightenment includes the many critiques of it that emerged from its founding period and those that followed. Thus, we will read not only selections from Bacon, Locke, Descartes, Paine, Kant (and other philosophers) but works by Coleridge, Wordsworth, Blake, Byron, and Shelley (poets of the Romantic period), as well as texts from the history of social thought that comment on the topic of knowledge and power (e.g., Schiller, Weber, Marx, Freud, Adorno, Foucault, Deleuze, Jameson).

Requirements: regular reporting on the reading, formal and informal; summaries of selected arguments; independent application of the ideas under discussion to texts and topics not treated in class; and two substantial essays.

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 002 — Banned Books. Satisfies the pre-1830 requirement for English concentrators.

Instructor(s): David L Porter (dporter@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/371/002.nsf

For as long as free-thinking authors have been moved to write, censors have attempted to stem the tide of dangerous ideas flowing from their pens. In this course, we will read a broad selection of important, well-known books from the period 1600-1830 that have, at some point, been banned, burned, or censored by political or religious authorities. We will explore the history, causes, effects, and cultural implications of various kinds of censorship, and we'll examine each of our readings from the perspective both of its intended audience and of those who have felt threatened or disturbed by the ideas it expressed. The reading list will include selections from the works of some of the following authors: Shakespeare, Milton, Behn, Locke, Defoe, Swift, Richardson, Voltaire, Cleland, Sterne, Rousseau, Paine, Goethe, and Sade. The class will be conducted as a seminar with an emphasis on detailed discussion of the readings. Students will have the option of submitting a collaborative web-based research project for inclusion on the Eighteenth-Century England website (http://www.umich.edu/~ece) in place of a traditional research paper and/or final exam.

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ENGLISH 372. Studies in Literature, 1830-Present.

Section 001 — What Was Modernism?

Instructor(s): Gorman L Beauchamp (gormanb@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will explore Modernism — the style/movement that dominated the "high" art of the first decades of the 20th century. While we will read a few poems (Eliot, Yeats) and glance briefly at some of the art and music, the focus of the course will fall primarily on fiction. Works to be read include Conrad's Heart of Darkness, Mann's Death in Venice, Joyce's Portrait of the Artist, Kafka's The Metamorphosis, Woolf's To the Lighthouse, Hemingway's The Sun Also Rises, Lawrence's Lady Chatterley's Lover Faulkner's The Sound and the Fury, and Hurston's Their Eyes Were Watching God. Course grades will depend on two essay exams, frequent short, informal writing assignments, and two five page analytical papers. Regular attendance is essential.

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ENGLISH 372. Studies in Literature, 1830-Present.

Section 002 — Reforming Literature: From the Industrial Novel to the Make-it-New Aesthetic.

Instructor(s): David W Thomas (dwthomas@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

Here we look to the term reform in two sense — the political and the aesthetic — to explore how politics and aesthetics interrelate in a British literary tradition. We begin with a literature that seeks political reform — early Victorian "social problem" writings with their portraits of societal injustices — and we conclude by examining a literature that is itself being aesthetically reformed — modernist works determined to reenvision the very nineteenth-century styles of literary representation with which our course begins. On the way, we see various means through which literary works engage social and legislative concerns, such as justice and fairness. Likely authors include Gaskell, Dickens, Trollope, George Eliot, J.S. Mill, Pater, Shaw and Woolf.

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ENGLISH 381 / AMCULT 324. Asian American Literature.

Section 001.

Instructor(s): Maria S See (ssee@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected twice for credit. Repetition requires permission of the department.

Credits: (3).

Course Homepage: No homepage submitted.

This course is a broad introduction to key Asian American texts that represent a fairly wide range of genres: autobiography, poetry, drama, short story, novel, stand-up comedy, and comic art. An understanding of their sociohistorical context and political significance is crucial, so occasionally we will pair literary texts with legal or legislative texts as well as screen videodocumentaries. Generally, however, we will emphasize the constructed and crafted nature of these texts, a difficult task for all students of literature but perhaps especially when it comes to analyzing literature by writers of color. Authors may include: Paisley Rekdal, Lynda Barry, R. Zamora Linmark, Bapsi Sidhwa, Hisaye Yamamoto, John Okada, Lawson Inada, Shani Mootoo, Sanjay Nigam, Ralph Peña, Sigrid Nunes, Sui Sin Far, Fae Ng, Grace Elaine Suh, Younghill Kang, Maxine Hong Kingston, Le Ly Hayslip, Carlos Bulosan, Bharati Mukherjee, Diana Son, Margaret Cho, Darrell Lum, Alec Mapa, and Lois-Ann Yamanaka.

Requirements include: quizzes, several 2-page responses, one 4-page essay, and a final exam.

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ENGLISH 382 / AMCULT 328. Native American Literature.

Section 001.

Instructor(s): Betty L Bell (blbell@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will read the Native American novels, non-fiction works, and films most commonly associated with the Native American literary renaissance and the popularization of contemporary pan-tribal culture. Produced over a thirty year period, 1968-98, these texts profoundly affected the ways in which Americans and Native Americans view indigenous cultures and peoples. The works of Vine Deloria, N. Scott Momaday, Leslie Silk, and others will guide our explorations into tribal sovereignty, spirituality, gender, and the creation of a popular pan-tribal literature. We will view films, such as Smoke Signals and Dance Me Outside, to assist our discussions on native self-representation in popular culture. Major course assignments will include in-class midterm and take home final.

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ENGLISH 383. Topics in Jewish Literature.

Section 001 — Jewish American Literature.

Instructor(s): Julian Arnold Levinson (jlevinso@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

How do Jewish writers in America straddle the divide between Jewish culture and modern American life? How do they interpret the collective past and create a collective memory? What features, if any, define the Jewish-American literary canon? What recurring metaphors, images, and characters animate this literature? To respond to these questions, this course explores a range of texts from the immigrant writings of Mary Antin to the post-Holocaust writings of Cynthia Ozick. Other authors include Morris Rosenfeld, Anna Margolin, Jacob Glatstein, Saul Bellow, Bernard Malamud, Grace Paley, and Isaac Bashevis Singer. While some of these authors wrote in Yiddish, all of their works will be read in translation. Two papers (4-6 pages), midterm, and final.

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ENGLISH 384 / CAAS 384 / AMCULT 406. Topics in Caribbean Literature.

Section 001 — Life and Literature in the Contemporary Caribbean Diaspora.

Instructor(s): Ifeoma C Nwankwo (icn@umich.edu)

Prerequisites & Distribution: CAAS 202 recommended. (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3).

Course Homepage: No homepage submitted.

This course centers on literature, music, and film produced out of Caribbean descended communities in the United States, Canada, England, and Central America (Panama and Costa Rica in particular). The writers (and musicians and filmmakers) we will engage have roots in a variety of Caribbean sites including Jamaica, Haiti, and Puerto Rico and relate to those roots in equally varied ways. Whereas some of the writers come out of relatively recently migrated communities, others are from communities that have been in North or Central America or England for generations. Our focus will be on the ways in which they craft identities and art by juggling their multiple cultural backgrounds and national origins. Specifically, we will explore such questions as: (1) How is home defined in their works? As a place in the Caribbean, as the nation of residence or as an imagined place that is neither? (2) How is home recreated or maintained? Through memories? Through return visits? Through carnival? (3) What differences between Caribbean diasporan communities in racial, cultural, or ethnic self-definition are apparent — do they all define themselves as "Black" across the board or do they define themselves based on nation of origin, nation of residence, language, depending on where they live? Why or why not? The class, then, is an exploration of the meanings and perceived relevance of Caribbeanness to people of Caribbean descent in the Americas and Europe. Course requirements: 1 6-page essay, 2 exams, group presentation, and occasional quizzes

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 387 / AMCULT 327. Latino/Latina Literature of the U.S.

Section 001 — Language and U.S. Latino/a Culture.

Instructor(s): Larry LaFountain-Stokes

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/amcult/327/001.nsf

The focus of this course is to understand the interrelation of diverse linguistic traits and practices in the production of U.S. Latino/a culture, broadly speaking, with emphasis on Chicano/a or Mexican-American, Nuyorican/Puerto Rican, Dominican-American, Cuban and Cuban-American contributions, in the context of specific historical and political processes. We will examine film, literature, music, performance, video, and visual arts and see how they employ Spanish, English, Spanglish, Pachuco Caló, etc., and try to ascertain how and for what these different languages and idiolects are used, and how language proficiency affects social experience. Practices such as code-switching will receive particular attention. Analysis will focus on the role of class, race, gender, and sexual orientation as they relate to linguistic usage in the works studied, and on the specific effects and uses of language in cultural production. Consideration will be given to the ways in which each particular cultural medium produces meaning. Lectures and readings are in English with occasional short readings in Spanish to be translated in class. Knowledge of Spanish is not required but very helpful.

Books will be available at Shaman Drum Bookstore, State Street, Ann Arbor.

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ENGLISH 406 / LING 406. Modern English Grammar.

Section 001.

Instructor(s): Richard Cureton (rcureton@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This is an advanced survey of descriptive English grammar. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (words, 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. 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 Student's Grammar of the English Language and John Algeo, Exercises in Contemporary English.

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ENGLISH 407. Topics in Language and Literature.

Section 001 — Old English.

Instructor(s): Thomas E Toon (ttoon@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is an introduction to the earliest texts written in English over a thousand years ago. We will begin with Old English, the language spoken by our forebears until the unpleasantness at Hastings — the Norman Conquest. Since Old English is so different from Modern English as to seem like another language, the first objective of this course will be to master the rudiments of the structure and vocabulary of the earliest attested form of English. The reward is being able to read an excitingly different corpus of prose and poetry. We will conclude with the study of the later texts which continue the Anglo-Saxon tradition alliterative tradition. My chief aim is to help you develop a new appreciation of where our language, culture, and intellectual traditions come from.

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ENGLISH 407. Topics in Language and Literature.

Section 002.

Instructor(s): Lisa Makman

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course provides an introduction to the major genres of children's literature. Students will read from a wide variety of classical and contemporary works, from The Tale of Peter Rabbit to Harry Potter and the Sorcerer's Stone. The genres we will study include fairytales, historical fiction, fantasy, and science fiction. The class will cultivate an awareness of story patterns, generic conventions and innovations. Among the topics to be considered are conceptions of child's play, gender and the child's development, imagining the child's imagination, sense and nonsense, and coming of age. The course will also examine broader questions such as the following. What are possible pedagogical functions of literature for children? What meanings are given to childhood in our culture and what is the role played by children's literature in producing these meanings? How have the meanings given to childhood changed historically? Requirements: response papers, final exam and research paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 407. Topics in Language and Literature.

Section 003 — War and 20th-Century U.S. Art. Meets with American Culture 301.002.

Instructor(s): John H McGuigan

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/407/003.nsf

American culture was profoundly shaped during the 1900s by a series of new wars creating new conditions both for soldiers on the fronts and civilians at home. Starting from that rather obvious premise, this course explores the "how" and "why." The shocking scale and mechanization of World War I, costly non-intervention in the Spanish Civil War and the resulting necessity of World War II, the forgotten Korean War, the domestically divisive Vietnam conflict, the restorative Desert Storm — each conflict abroad necessitated a renegotiated sense of self at home. Many of the art works we will study define themselves in opposition to the respective official government line, but through the use of primary sources we will examine both sides of the domestic battle for the cultural and rhetorical upper-hand, as people fight to determine how a conflict will be understood and how it will be remembered. Soldiers' letters, for example, can illuminate the role art played in the lives of soldiers, helping them negotiate the danger of their immediate environment and inform their sense of the larger historical and political forces at work.

This course requires two shorter papers and a 10pp research project using University research collections. Readings could include works by Faulkner, Hemingway, H.D., Dos Passos, Heller, Vonnegut, O'Brien, Komunyakaa, and Bowden, in addition to films and journalism.

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ENGLISH 407. Topics in Language and Literature.

Section 004 — Topic?

Instructor(s): Susan Y Najita (najita@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Permission of department required.

ENGLISH 407. Topics in Language and Literature.

Section 005 — Texts of U.S. Slavery, Race and Labor: "From 'Nadir' to 'New Negro'". Meets with CAAS 495.001.

Instructor(s): Xiomara A Santamarina (xas@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See CAAS 495.001.

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ENGLISH 411. Art of the Film.

Section 001 — Prison Reality.

Instructor(s): William R Alexander (alexi@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be elected more than once for credit. Repetition requires permission of the department. Laboratory fee ($35) required.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

With 25 percent of the world's prisoners, the United States is the most incarcerating nation in the world. Thirteen percent of the U.S. population, African Americans are 50.8 percent of our prison population. In 1979, 1 in 14 Michigan state workers were employed in the state prison system; it is now close to 1 in 3. Michigan has built over 30 prisons in the past 17 years. We have eliminated higher education, instituted longer sentences, and handed down harsher punishments. Yet to most of us, prisons remain invisible places we ignore or know only through rumors, myths, and the speeches of politicians. This course will address prison reality and culture and the ways in which prisons are represented to us and to others. Discussions will focus on the works and their implications about personal attitudes and behavior and about social institutions. Expect journals and final projects. There will be no exams.

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ENGLISH 415. Interdisciplinary Approaches to Literature.

Section 001 — Technology & the Humanities. Meets with English 516.001.

Instructor(s): Eric S Rabkin (esrabkin@umich.edu), Victor Rosenberg

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: http://www.umich.edu/~lsarth/RTHf03/415f03syl.html

This upperclass and graduate-level course fosters both sharpened general analytic and presentational skills and technical mastery of a broad range of modern computer-based technologies for collaboration and for gathering, manipulating, analyzing, and presenting electronic data in the humanities. We will work both locally and via networks, with special attention to creating and publishing "compound documents" (e.g., Web sites and CD-ROMs). The course begins with five weeks of intensive technical training and proceeds to five weeks of discussion of works that question the impacts of technology. By the middle of the academic term, restrained only by time and their imaginations, students also will be working in self-selected groups on creating sophisticated multimedia products using a variety of techniques to address some substantial issue in the humanities. Technical topics include at least information gathering from digital sources, HTML authoring, hypertext documents or novels, collaborative technologies, the meaning of the digital revolution, text analysis, and image manipulation.

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ENGLISH 416 / HISTORY 487 / WOMENSTD 416. Women in Victorian England.

Section 001.

Instructor(s): Andrea Patricia Zemgulys (zemgulys@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/416/001.nsf

This course will examine writing by and about women in later Victorian and Edwardian Britain. The primary tasks of the course will be to consider the different ways of reading demanded by different kinds of texts, and to explore how women are figured through these texts. Our readings will range from documentary works such as postal directories, maps, and cookbooks, to imaginative works such as novels, poetry, and illustrations; these primary sources will often be read alongside scholarly essays on relevant historical topics. While the course will provide an introduction to the domestic ideologies that pervaded the writing of and about Victorian women, we will more particularly focus on women's negotiation of urban spaces (such as slums, shopping areas, and public squares) and on social reform issues concerning British women (on marriage, public health, and voting rights). The major texts of the course will include -Mrs Beeton's Book of Household Management (1861), J.S. Mill's -The Subjection of Women (1869), Gissing's -In the Year of the Jubilee (1894), and Virginia Woolf's -Night and Day (1920).

Two essays (five and ten pages), two short papers (one to two pages), and two exams will be set for this course.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1, 5: Permission of Department

ENGLISH 417. Senior Seminar.

Section 001 — The Politics of Prose. Meets with Comparative Literature 432.001.

Instructor(s): Simon E Gikandi (gikandi@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. (4). (Excl). May not be repeated for credit. May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See Comparative Literature 432.001.

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ENGLISH 417. Senior Seminar.

Section 002 — Lesbian Literatures.

Instructor(s): Anne C Herrmann (anneh@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. (4). (Excl). May not be repeated for credit. May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will consider what it means to write and read "as a lesbian" by focusing on female same-sex desire in 20th century literary practices by women. Questions to be addressed are: what is a lesbian text; how does the figure of the lesbian influence how stories are told; how does this figure reflect class and racial, as well as national differences; how is same-sex desire represented by writers who don't identify as lesbian. Topics to be covered include: female homoeroticism; lesbian pulp fiction; relationships between lesbianism and masculinity; historical changes in literary representation. Texts include Hall's Well of Loneliness (1928), Woolf's Orlando (1928), Larsen's Passing (1929), Morrison's Sula (1973), Bannon's Beebo Brinker (1962), Winterson's The Passion (1987), Feinberg's Stone Butch Blues (1993) and Hoffman's Hospital Time (1997), as well as literary critical and theoretical essays, and a film. Class requirements include a class presentation and a final seminar paper composed in several stages. Cost: $100

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ENGLISH 417. Senior Seminar.

Section 003 — Forms of Prose Fiction.

Instructor(s): Nancy B Reisman (nreisman@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. (4). (Excl). May not be repeated for credit. May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In this seminar, we'll explore a range of forms of prose fiction, from micro fiction and short shorts to short stories, novellas, and novels; and we'll consider the ways in which several contemporary writers shape their work and combine received and invented forms. We'll also explore the common ground between fiction and poetry, between fiction and drama, and discuss the sharing of technique and blurring of boundaries among forms. The seminar is designed with the interests of emerging writers in mind, and the written work for the course will include some short creative assignments as well as analytical discussions.

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ENGLISH 417. Senior Seminar.

Section 004 — Representation and Indigenous Peoples.

Instructor(s): Jennifer Wenzel

Prerequisites & Distribution: Senior concentrator in English. (4). (Excl). May not be repeated for credit. May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This seminar will focus on issues of cultural and political representation as they relate to indigenous peoples. Questions of both indigeneity and personhood emerged out of encounters in the "contact zones" created by European imperial expansion, generating images of indigenous peoples (as noble and other savages, for example) that would take on a life of their own. We will examine the proliferation of such images in narratives of these encounters, as well as their incorporation into other genres and disciplines, from poetry and prose fiction to essays and ethnographies. Also of concern will be indigenous peoples' images of Europeans, and how their own cultural practices respond to, challenge, accept, or transform representations of them, and to what uses traditions that predate colonial encounters are put after those encounters. We will examine contemporary issues-- from Fourth World movements in an era of post-nationalism and globalization, to the commodification of "ethnic chic" and New Age appropriations of "native wisdom"--that suggest significant challenges to, and revivals of, the myth of the noble savage. The course is international in scope, with particular focus on India, South Africa, and the Americas, although students will be encouraged to pursue and share interests in other regions. Literary and cultural texts will be supplemented by readings from philosophy, political science, economics, and international law. Reading list may include, but is not limited to, texts by Sherman Alexie, John Barrow, Aphra Behn, J.M. Coetzee, Christopher Columbus, Mahasweta Devi, Handsome Lake, Zakes Mda, Rigoberta Menchú, Michel de Montaigne, Carter Revard, Dr. Seuss, Leslie Marmon Silko, and Colin Turnbull. Course requirements include essays, presentations, and thoughtful participation in the seminar.

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ENGLISH 423. The Writing of Fiction.

Section 001 — Fiction.

Instructor(s): Peter Ho Davies (phdavies@umich.edu)

Prerequisites & Distribution: Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

ENGLISH 423 is an advanced level course in the writing (and reading) of short fiction. The primary focus of the course will be on original student work, but we'll also study a variety of published stories. Students will be required to write two complete stories (2500-5000 words) for the workshop, and revise both by the end of the term. Brief weekly critiques of stories to be discussed and occasional short writing exercises will also be assigned. Reading will usually consist of three to four stories each week.

Required text: Course pack

Admission: Applicants should bring a brief sample of fiction (5-10 pages) to the first meeting.

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ENGLISH 423. The Writing of Fiction.

Section 002 — Fiction.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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, to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required. Students who want to enroll in the workshop should get on the waitlist and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter.

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ENGLISH 425. Advanced Essay Writing.

Section 001 — Writing Beyond the Academy.

Instructor(s): Merla Wolk (merla@umich.edu)

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~merla/voicedes.htm

It surely comes as no surprise to you that a writing world exists beyond English, history and econ papers. This course makes writing for that world (the so-called "real world") its emphasis. We will look at a variety of professional fields which require writing: journalism, teaching, feature writing (on politics, travel, sports, whatever), law, medicine, business, and the criticism, whether literary, film, or art. Your interests will shape our agenda. Some of our readings will be professional texts that reference communication situations in all areas; some will be specific to particular fields. We will discuss these texts as well as the texts written by the students in the class. You can tailor your own writing to your particular interests, and we will all benefit from the exchange of differing perspectives on writing, thinking, and reading. Our professional readings will include works by Scott Turow, Anne Fadiman, Muriel Spark, Pauline Kael, Thomas L. Friedman, Maureen Dowd and others. The requirements include three 6-8 page essays, all of which can be revised; responses to each other's writing; participation in class discussion: and regular attendance.

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ENGLISH 425. Advanced Essay Writing.

Section 002 — Finding Your Voice.

Instructor(s): John W Rubadeau (jwr@umich.edu)

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is a continuation of ENGLISH 325 and will focus on (1) improving your vocabulary, (2) strengthening your grammatical, mechanical, semantical, and syntactical skills, and (3) helping you find your voice. I insist that you make the private public (ideally, to illustrate a universal truth or a general principle) in order that you establish your authority to comment on the topic of your essay, that you pen an essay which is not generic, and, most importantly, that you write with a human voice (not dead, wooden prose written by an obscurantist concentrating in philosophy [mea culpa to any philosophy concentrator reading this course description]). Although this course is not difficult, it is perhaps the most labor-intensive course you will take. Quid pro quo — be prepared to work hard for me, and, in the process, you'll learn much about writing. The reading material for this course is your peers' writing. This will be a fun, interesting, profitable, and practical course. Text: The American Heritage Dictionary, Fourth Edition E

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ENGLISH 426. Directed Writing.

Instructor(s):

Prerequisites & Distribution: Junior standing and permission of instructor. (1-4). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 6 credits.

Credits: (1-4).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor/department

ENGLISH 429. The Writing of Poetry.

Section 001 — The Poetry of Compression or How Loss of Dimension Expands (also known as: The Growing of Language Crystals).

Instructor(s): Thylias Moss (thyliasm@umich.edu)

Prerequisites & Distribution: Written permission of instructor is required. (3). (Excl). May be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In writing poems this semester, there will be an emphasis on gestures to compensate for what so far is necessarily lost in the translation of experience into poetry, beginning with a consideration of the loss of the three-dimensionality of experience as it is made to conform to the two-dimensionality of the page. For poetic structures, we will therefore attempt to utilize the "nets" of polyhedra, which is what a solid object, such as a cube, becomes when the object is presented flat or "undone." The flat-packing of the polyhedra will create more locations for poems to progress in space and time; we will write about those locations in our poems seldom considered in order to attempt to create more accurate 2D of 3D experience. We will be concerned with what lies on the planes opposite, under, beside, above, below, etc., the emotional, physical, logistical, tonal, momentary, etc. locations of the subjects and ideas in our poems. And we will also consider how what we place on these planes can vary as scale and time are varied. We will, in part, create more options for stanzaic presentation and will have the option to repack the polyhedra so that the poems will be unable to fit into conventional displays (2D books) of poetry but will be instead more like language sculptures (if occupying 3D space), or could take advantage of those computer presentations that allow what appears on the screen to have depth, sort of like CAD, but only with words. We will, in effect, be growing language crystals. The semester will culminate with a show of our poetic sculptures in either their packed or unpacked forms. Please join me in this experiment. Texts will probably be selected from the following list: Platonic and Archimedean Solids by David Sutton (as our primary source of unpacked maps of polyhedra), Garbage by A. R. Ammons, Cascadia by Brenda Hillman, Slave Moth by Thylias Moss, Autobiography of Red by Anne Carson, and Fractals: The Patterns of Chaos by John Briggs. Permission of Instructor required for enrollment.

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ENGLISH 430. The Rise of the Novel.

Section 001 — Satisfies the pre-1830 requirement for the concentration in English.

Instructor(s): Lincoln B Faller (faller@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The narrative form we call the English novel developed over the course of the eighteenth century in a series of brilliant formal, imaginative, and intellectual experiments. We will read some of the most remarkable of these experimental narratives, including Aphra Behn's Oroonoko (1688), Daniel Defoe's Moll Flanders (1722), Samuel Richardson's Clarissa (1747-49 ), Henry Fielding's Tom Jones (1749), Laurence Sterne's Tristram Shandy (1759-67), Frances Burney's Evelina (1778), and Jane Austen's Pride and Prejudice (1813). In reading these works we'll be concerned with a variety of matters aesthetic and cultural, including the elaboration of action into plot; the development of authorial voice and authority; the shaping of reader response; the representation of individual consciousness amid other interacting and competing subjectivities; the use and implications of setting. We'll also be interested in these novels' representation and critique of cultural values and social practices, including their depiction of gender and class relations and, to the limited extent it concerns them, the representation of racial difference; the operations of the law, including its treatment of crime; the distribution and exchange of property; along as well with their treatment of themes large and small like love and marriage, death, good and bad manners, what it means to have justice done or to lead a "good life." Each class will begin with an oral presentation by a panel of students. Students will write weekly reaction papers, except during those weeks when they are giving an oral presentation. There will be a midterm exam and a final exam, as well as an end-of-term paper or other equivalent project. Approximate cost of books: $80-90.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 432. The American Novel.

Section 001.

Instructor(s): Susan Scott Parrish (sparrish@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will trace the development of the novel form, written in English, in the Americas. Novels may include: Oroonoko, Wieland, Moby Dick, My Antonia, Sound and the Fury, Eyes Were Watching God . Issues and topics we will find ourselves tracing throughout the term are: travel or movement through space, the significance of place/region and environment, the status (gender/race/nationality/class) of the author, the narrator's persona, shifts in the narrator's perspective, the representation of racial and cultural conflict, spirituality, changes in the form of the novel, masculinity/femininity, and historical changes from the late 17thc Atlantic world to the post-modern US of the late 20th century. You will bring in brilliant reading questions to every class, write three stunning papers (one 3-4, two 5-6pp); I reserve the option to give an in-class midterm.

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ENGLISH 434. The Contemporary Novel.

Section 001.

Instructor(s): Nicholas F Delbanco (delbanco@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will examine salient examples of the contemporary novel in America--by contemporary I mean those authors who are still alive and by novel I mean fictions of a certain length. The "Great American Novel" does not, I think, exist; we're too various and multiform a society for any single text to encompass or describe us all; think of the various subsets and hyphenated categories in a bookstore's shelf-space and you'll see, I think, what I mean. (Indeed, most people's candidate for the GAN would be a book written more than a hundred years ago, whose title character is a whale and whose principal action takes place offshore...) We'll discuss novels mainly from a writer's perspective--focusing on matters of structure, pace, presentation, and language, as well as subject matter and theme. This course may therefore be of particular interest to undergraduate fiction writers, and some of the written work will be "creative". Our dozen texts will be announced as the time draws near.

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ENGLISH 440. Modern Poetry.

Section 001 — Satisfies the American Literature requirement for English concentrators.

Instructor(s): Laurence A Goldstein (lgoldste@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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, and 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.

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ENGLISH 443 / THTREMUS 321. History of Theatre I.

Section 001.

Instructor(s): Leigh Woods (lawoods@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Foreign Lit

Credits: (3).

Course Homepage: http://www.theatre.music.umich.edu/faculty/Leigh%20Woods%20Homepage.htm

See Theatre and Drama 321.001.

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ENGLISH 443 / THTREMUS 321. History of Theatre I.

Section 002 — Meets with Theatre 521.001.

Instructor(s): Leigh A Woods (lawoods@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Foreign Lit

Credits: (3).

Course Homepage: http://www.theatre.music.umich.edu/faculty/Leigh%20Woods%20Homepage.htm

See Theatre and Drama 321.002.

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ENGLISH 467. Topics in Shakespeare.

Section 001 — topic?

Instructor(s): Valerie Traub (traubv@umich.edu)

Prerequisites & Distribution: Prior course work in Shakespeare is recommended. Permission of instructor required. (3). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor

ENGLISH 471. Nineteenth-Century American Literature: Key Texts.

Section 001 — American Selves.

Instructor(s): MARIA SANCHEZ (maricarl@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

How do we know what an individual is, or who counts as one? This course will study the development of individualism in the United States through readings of a wide variety of 19th century texts (with a possible quick nod to the 20th century toward the end of the term). We'll begin by looking at different strains of individualism, roughly divided into those that privilege thought (interiority, self-identity, self-knowledge), and those that privilege deed (social status, occupation or profession, action); all the while, we'll consider the role of writing, and the vital importance of the written word, to how Americans come to understand individualism. How do slaves, for example, achieve individuality, when they are defined as 3/5 of a one person for purposes of congressional apportionment? How do the century's changing ideas concerning gender roles, "Americanness," immigration and imperialism, theoretical class fluidity, and so on, affect how we define an individual? Our authors may include: Ralph Waldo Emerson, Zitkala-Sa, Henry David Thoreau, Harriet Wilson, Nathaniel Hawthorne, Maria Amparo Ruiz de Burton, and Elizabeth Stoddard.

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ENGLISH 472. Twentieth-Century American Literature: Key Texts.

Section 001.

Instructor(s): Jonathan E Freedman (zoid@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: permission of department

ENGLISH 482. Studies in Individual Authors.

Section 002 — e.e. cummings.

Instructor(s): Richard D Cureton (rcureton@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will study the life, ideas, and art of e.e.cummings, one of the great artists and personalities of the 20th century. Cummings is primarily known for his poetry, but he was also a significant painter, playwright, novelist, critic, and aesthetician. During the course, we will study cummings' complete poetic corpus (of almost 1000 poems), one of his novels, The Enormous Room, one of his plays, Him, and some of his criticism, as he delivers it orally in his famous Charles Eliot Norton(non-) lectures. For his life, we will read Richard Kennedy's biography of cummings, Dreams in the Mirror. For his visual art and aesthetics, we will read Milton Cohen's Poet and Painter, which explores cummings' sketches, painting, and artistic ideas. Requirements for the course will be two medium length papers (5-10 pages) during the term and one longer paper (15-20 pages) at the end of the term.

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ENGLISH 482. Studies in Individual Authors.

Section 003 — Toni Morrison as Novelist and Critic. Meets with CAAS 458.001.

Instructor(s): Arlene Rosemary Keizer (arkeizer@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In an interview from the early 1980s, Toni Morrison states that "narrative remains the best way to learn anything. . .so I continue with narrative form." The aim of this course is to explore, in detail, Morrison's uses of narrative form and figurative language. We will read virtually all of Morrison's novels, examining the development of themes and formal strategies. We will also read Morrison's literary and cultural criticism, paying particular attention to the ways in which issues in the novels are addressed in these non-fiction works. Among the questions we will attempt to answer by reading the novels and criticism together is the question of how narrative might function as a form of theory. Other ongoing concerns of the class will be to situate Morrison's work in the African American and American literary traditions and to investigate the connections between her aesthetics and those evident in African American music.

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ENGLISH 482. Studies in Individual Authors.

Section 004 — Vladimir Nabokov and World Literature I: The Russian Years. Meets with Russian 478.001.

Instructor(s): Omry Ronen (omronen@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Russian 478.001.

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ENGLISH 486. History of Criticism.

Section 001.

Instructor(s): John Richard Kucich (jkucich@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is an introductory survey of literary theory from the romantics to the present, but with emphasis on the exciting and absolutely fundamental changes that have taken place in the past twenty-five years. Major areas of study will include Romanticism, Modernism, New Criticism, Post-structuralism, New Historicism, Feminism, and Multiculturalism. We will be using various kinds of literary theory to help us answer basic questions about what and why we read, questions like: What gives us literary pleasure? Do authors determine the meaning of their texts, or do readers? How is literature related to society and politics? Can pornography be literature? Is there a difference between literature and propaganda? How are male readers/writers different from female readers/writers? On what principles was our literary canon established, and should it be revised? Mix of lecture/discussion, but with a strong emphasis on student participation. Two, possibly three short papers, and a final project.

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ENGLISH 492. Honors Colloquium: Drafting the Thesis.

Section 001 — [Honors].

Instructor(s): Sara B Blair (sbblair@umich.edu)

Prerequisites & Distribution: Admission to the English Honors Program and permission of instructor. (3). (Excl). May not be repeated for credit. Continuing Course. Y grade can be reported at end of the first-term to indicate work in progress. At the end of the second term (ENGLISH 496), the final grade is posted for both term's elections.

Credits: (3).

Course Homepage: No homepage submitted.

This colloquium is limited to students already enrolled in the English Honors Program who intend to complete Honors theses in Winter 2004. Through a series of intensive discussions and exercises, we'll explore strategies and methods for working through every aspect of the thesis project: refining research areas, working with advisors, choosing and using secondary materials, and drafting and re-drafting for the most effective argument and prose. Our format will be that of a workshop, in which we circulate work continuously over the course of the term; each student should end the term with a workable draft of the thesis project.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Instructor/Department. English Honors only.

ENGLISH 492. Honors Colloquium: Drafting the Thesis.

Section 002.

Instructor(s): Joshua L Miller (joshualm@umich.edu)

Prerequisites & Distribution: Admission to the English Honors Program and permission of instructor. (3). (Excl). May not be repeated for credit. Continuing Course. Y grade can be reported at end of the first-term to indicate work in progress. At the end of the second term (ENGLISH 496), the final grade is posted for both term's elections.

Credits: (3).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Instructor/Department

ENGLISH 497. Honors Seminar.

Section 001 — Early Modern Literature of Travel.

Instructor(s): David L Porter (dporter@umich.edu)

Prerequisites & Distribution: Junior or senior standing, and permission of instructor. (3). (Excl). May be repeated for credit for a maximum of 9 credits.

Credits: (3).

Course Homepage: http://coursetools.ummu.umich.edu/2003/fall/english/497/001.nsf

Ideas of the foreign, both real and imaginary, exerted a profound influence on eighteenth-century letters in both England and France. In this course, we will examine the development of this fascination with travel and cultural difference through readings of fictional and journalistic accounts by some of the major writers of the seventeenth and eighteenth centuries, including Bunyan, Defoe, Swift, Johnson, Montagu, Sterne, and Voltaire. We will consider topics including the use of travel narrative as a form of social commentary, the role of travel accounts in the development of Enlightenment thought, the aesthetics of the exotic, and relations of power and mastery in encounters with the cultural "other." The class will be conducted as a seminar with an emphasis on detailed discussion of the readings. Students will have the option of submitting a collaborative web-based research project for inclusion on the Eighteenth-Century England website (http://www.umich.edu/~ece) in place of a traditional research paper and/or final exam.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Instructor/Department

ENGLISH 498. Directed Teaching.

Instructor(s):

Prerequisites & Distribution: Permission of the instructor. (3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 9 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Participation in the teaching of a regularly offered course. Involves readings in educational theory, written work relating to teaching activities, and regular contact with the instructor. (This is an English Department independent study number and is not to be confused with School of Education teaching courses).

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor/department

ENGLISH 499. Directed Study.

Instructor(s):

Prerequisites & Distribution: Junior standing; and permission of instructor. Not open to graduate students. (1-4). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 6 credits.

Credits: (1-4).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor/department


Graduate Course Listings for ENGLISH.


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