For all English classes, registered students must be present at each of the first two meetings to claim their places. Any student who does not meet this requirement may be dropped from the course. NOTE: If you must miss a class due to religious observances, contact the instructor or leave a message for the instructor with the department (764-6330).
The English Department's Professional Semester is an experimental, integrated, team-taught program, designed for students who are committed to teaching
English in the secondary schools or who wish to explore that possibility.
This program, which will carry 12 hours of credit, along with English 305
to be taken concurrently for 3 hours of credit, will normally constitute the student's entire course load for one term, and will meet the following
requirements in the Teaching Certificate Program (students who have already
accumulated some of these credits are welcome to negotiate):
English 490-001. Reading, Writing and Criticism in the Teaching of English. (7 credits). (This is the equivalent of English 325 plus English 417. Concurrent election of English 491/Education D491 and English 305 is required.)
English 491/Education D491. Teaching English-Methods and Practicum. (5 credits).
(This is the equivalent of Education D440 and Education 307. Concurrent
election of English 490 and English 305 is required.)
The Professional Semester is not taught as a collection of separate courses, but rather as a coherent program with flexible scheduling arrangements and opportunities for large and small group projects and discussions, guest consultants and lecturers, and student planning of many segments or aspects of the program. As a hypothetical example, one might focus on the question of audience, taking up criticism on how literature reaches its audience and including poetry, a Shakespeare play, a modern novel, a film, to explore how the different genres affect an audience. In the same unit students might also examine the communications potential of language in a number of contexts and write brief papers addressed to various audiences. Discussion and observation of different local secondary schools will be arranged under Education D491 on a concentrated basis for a portion of the term.
The Professional Semester can accommodate up to 25 students and meets MW 11-12, Th 10-12, and MWTh 2-4, with the practicum to be arranged. Students should keep MW 4-5 open for tutoring under Ed D491. Registration requires overrides, available in the English Department Office in 7607 Haven Hall or from the instructor for the program.
Students interested in participating in this program can get more information from the instructor: Anne Gere, 747-2529 (office). She can also put you in touch with students who have participated in the program and who will be happy to tell you what it was like. A brochure with a general description of the teaching certificate program in English is available in the English Department Office.
After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. English 325 offers the opportunity for work in argumentative and expository prose at a more advanced level.
Several sections of English 223, the beginning course in creative writing, are available each term; the work is multi-generic, and two of the following will be covered in each section: fiction, poetry, and drama. More experienced writers may apply for admission to specialized sections of English 227 (Playwriting), English 323 (Fiction or Poetry), English 423 (Fiction), English 427 (Playwriting), and English 429 (Poetry). Admission to these advanced courses is by permission of the instructor, who will require writing samples.
Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.
167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).
SECTIONS 001 AND 009. This is a composition course, much like English 125, except that its reading matter is centered on the plays of Shakespeare rather than on other texts. The writing requirements for 167 are the same as for 125. If you complete the course successfully you will have satisfied the underclass writing requirement. There will be a one-time mandatory lecture for all sections on Monday, September 10th, 7:00-9:00 pm, in MLB Aud 3. Most sections will have met at least once before the lecture. [Cost:1] (Ingram)
Primarily for Freshmen and Sophomores
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
220. Intensive Composition. Open to transfer students only. Students must take the ECB Writing Assessment before registering for this course. (2). (Introductory Composition). May be repeated for a total of four credits.
Intensive Composition is a course designed especially to meet the needs of entering transfer students. Enrollment in English 220 is limited to senior, junior, and sophomore transfer students. It is a two-credit course, meeting three hours each week for an EIGHT-WEEK (half-term) PERIOD. English 220 will be offered only during the first half of the Fall 1990 Term, and students must be enrolled before the Fall Term begins. The work in English 220 is intensive and the classes are small. This course meets the Intro-Comp requirement and students move from this course to the ECB-required junior-senior writing courses throughout the University. The course is repeatable once, for a total of four hours' credit.
Students enrolled in this course will write much and often – a minimum of 500 words each week. This course differs from English 125 in the pace of the assigned work, and in the assumed level of transfer students' experience as writers. Students are advised against taking this course as an overload. If you have any questions, please contact the Introductory Composition Office, 224 Angell Hall, 764-0418.
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.
All sections of 223 teach the writing of two of the following three genres: fiction (including personal narrative), drama, and poetry. Different sections will emphasize the individual genres to varying degrees. Classwork involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised work of 35-50 manuscript pages may be required. All sections of English 223 will have course descriptions available for reference in 224 Angell Hall after March 27th.
227. Introductory Playwriting. (3). (Excl).
Students will learn the fundamentals of playwriting and play analysis in a professional workshop setting. Focus is given to development of dialogue, characterization, structure, and expressive authenticity. Students will write numerous scenes, a monologue play, and a longer one-act play to be read aloud in class by actors assigned to the class. Those interested in enrolling should add their name to the waitlist at CRISP and leave their phone number with Ari Roth, 1638 Haven Hall, to sign up for an interview the day before the first class. (Roth)
230. Introduction to Short Story and Novel. (3). (HU).
Rather than a comprehensive survey of the short story and novel, this course offers an introduction to the basic techniques of analyzing prose fiction. Beginning with short stories, students learn to define questions of narrative construction, voice, characterization, theme, and style. As critical facility increases, the course will consider more challenging and in some cases experimental fiction. At least three novels will be read in addition to numerous short stories. Students should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.
SECTION 003 – Mr. Micawber says that he reads David Copperfield's novels "with delight, with entertainment, with instruction." We will attempt to do the same thing as we read seven great novels – including David's autobiography – and a volume of short stories. Our aim is to read fiction critically and intelligently. We will concern ourselves with such things as the novelist's understanding of the world around him, and how he deals with it; the role of the artist in society, selfishness and selflessness; and the meaning of happiness. Our reading list will include the following books: Dostoevesky's CRIME AND PUNISHMENT (Vintage), Solzhenitsyn's ONE DAY IN THE LIFE OF IVAN DENISOVICH (Mentor), Emily Brontë's WUTHERING HEIGHTS (Penguin), Jane Austen's EMMA (Penguin), James Joyce's DUBLINERS (Penguin), Ralph Ellison's INVISIBLE MAN (Vintage), Evelyn Waugh's DECLINE AND FALL (Dutton), and Dickens' DAVID COPPERFIELD (Penguin). Please use the editions indicated; books have been ordered from Shaman Drum Book Shop, on State Street. Course requirements include three papers, daily in-class "scribbles," group reports on DECLINE AND FALL, and a final exam. Daily attendance and participation expected; optional Wednesday night discussions at my home. For Honor students only. [Cost:2] [WL:1] (Hornback)
SECTION 004. SUPERIOR ENTERTAINMENT. In this introduction to prose fiction we will be concerned with what makes fiction entertaining, how story-tellers tell their stories. We will read four books together – Margaret Laurence's A BIRD IN THE HOUSE, Kate Chopin's THE AWAKENING, Ethel Wilson's HETTY DORVAL, and Ernest Hemingway's IN OUR TIME – and also a course pack containing a couple of stories, James Baldwin's "Sonny's Blues" and Mavis Gallant's "In a War." Students will write 2 or 3 short essays (some 4000 to 5000 words in all). There may be a final examination. Class will depend on informed discussion of the fiction; that is students will be expected to come to class having read and thought seriously about their reading, and ready to talk about it and explain why it was enjoyable reading – or not. [Cost:1] (Powers)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
SECTION 001. This course is designed to help students become better readers of poetry. We will be reading a wide variety of poems, from different periods of literary history and from different genres; and we will be exploring some of the following questions: How do poems ask us to read them? What do poems do to language? How do the forms in which poems are written become meaningful? Our primary text will be the NORTON ANTHOLOGY OF POETRY; our reading will be organized around a series of formal and thematic issues. Students will be expected to read carefully, participate enthusiastically in class discussions, and write several papers. [Cost:2] [WL:1] (Pinch)
SECTION 002. Work in class will be devoted to discussion of particular poems selected from THE NORTON ANTHOLOGY OF POETRY. The aim of the discussion will be to increase your understanding and appreciation of poetry. The first objective will be to develop some common questions on analytic approaches. Then we will spend a few weeks discussing poems mainly for reading practice. In the final weeks we will read a number of poems by one poet. There will be a midterm, a short paper or two, in-class exercises, and a final examination. [Cost:1] [WL:1] (Lenaghan)
SECTION 003. This course, a prerequisite for concentrators in English, is an introduction to English and American poetry. In this section, students will read a wide variety of poems drawn from the WESTERN WIND, ed. J.F. Nims. I shall be organizing the course according to poetic kinds or themes, working chronologically within each category. Occasional brief lectures will serve to direct and focus discussion, which will be the primary method of instruction. Student responsibilities in the course include the following: three or four in-class writing exercises, one or two oral reports, a long end-of-term essay, and a final examination. Regular class attendance is required, and each student's contribution to class discussion will be a factor in the assignment of grades. [Cost:1] [WL:1] (Jensen)
SECTION 004. The aim of this course is to deepen the rewards of reading poetry by understanding its nature and how it achieves its effects. Much of our work in this term will therefore be devoted to cultivating a common critical vocabulary which will enable us to respond intelligently to as many different forms of poetry as possible. The emphasis will be upon close readings of various British and American writers, with the last few weeks reserved for a study of the works of an individual poet. To encourage an appreciation of the oral nature of poetry, some memorization and recitals will be required, together with a series of short papers and a final exam. Primary text: NORTON ANTHOLOGY. [Cost:2] [WL:1] (Larson)
SECTION 005. This course aims to introduce students to many of the kinds of poetry written in English. We will read poems to discover poetry's range of forms and subjects of attention, to recognize the ways poems can be constructed, and to hear the sounds poems make. Using the NORTON ANTHOLOGY OF POETRY as our base text, we will read poems from England, Ireland, America, the Caribbean, and some poetry in translation. Students will also be asked to purchase a course pack of poems and other materials. I anticipate our class format to combine discussions and some lectures, interspersed with films and readings. Written work includes several short response papers, two 4-5 page essays, a midterm and a final exam. [Cost:2] (Heininger)
SECTION 006. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," one or two formal papers of analysis, a midterm, and a final. Class proceeds by discussion. Text is the complete NORTON ANTHOLOGY OF POETRY. [Cost:1] [WL:1] (Zwiep)
SECTIONS 007 AND 010. The purpose of this course will be to generate, refine, and implement strategies for understanding and explicating a wide range of poems. Using the NORTON ANTHOLOGY OF POETRY and various supplemental materials, we will discuss not only the means by which poets communicate their lyric visions of the world but also the ways in which readers produce convincing, heterogeneous, and often conflicting accounts of the same poem. Topics to be addressed will include the characteristic features and types of poems, the rhetorical function of poetry and the role that critical methodologies and cultural assumptions play in the interpretation of poems. Class will be run predominantly as a discussion group and students will be expected to participate regularly. Requirements will include occasional informal assignments, 3 analytical essays, a midterm, and a final examination. [Cost:1] [WL:1] (Flint)
SECTION 008. The subject of this course is the beauty it, how to take joy and understanding from it. We will read together poems written mostly in this century, poems I have chosen because they please me and because I think they will please you. You will write briefly to open each class meeting, except for the first and last, and to prepare for each day's discussion. Those of us who write poetry and would like to share it with the class, will do so during the term. We will also have readings and discussions in some of our classes by working poets in the University. In addition to daily writing, this class requires a midterm paper and a final paper. It has no examination. [Cost:2] [WL:1] (Fader)
SECTION 010. See description under Section 007. (Flint)
SECTION 011. 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 without teachers, outside the University classroom. The class 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. I imagine that our 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? The course will conclude with readings of short collections of poetry by several contemporary poets. Prior to this project, 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.), as well as a longer final essay (10 pp.) on a poet of your choice. Participation in discussions is required; attendance is mandatory. [Cost:2] [WL:1] (Whittier-Ferguson)
SECTION 014. In this course we read and study poems rather carefully so that we can read poetry with more enjoyment and knowledge. This activity is prerequisite to concentrating in English. The course can also be a good one for students not intending an English concentration but who want to know more about poetry. We go by as much reading of poems in class and as much discussion as we can. We invite familiarity with the main manifestations of English and American verse through the reading of a large number of poems written over the centuries as well as through the close reading of a given few. That way we can hope to get some sense of the range of lyric poetry as well as some skill at seeing how different kinds of poems are put together and how they work; and this not for its own sake but so that we can know more clearly, enjoy more deeply. Toward the close of the course we will study the work of one major poet – perhaps Yeats or Frost or Dickinson. There will be a number of written exercises, two relatively short papers, one hour exam and a final exam. [Cost:2] [WL:1] (McNamara)
SECTION 015. This course aims to introduce students to a wide range of English poetry, studying both its thematic concerns and its formal characteristics. We will read and discuss poems grouped by theme for most of the term, and spend the last three weeks on an intensive reading of Wallace Stevens. Throughout the course, emphasis falls on close reading of and analytical writing about poetry. Two papers, various informal exercises, and two exams. Texts are the NORTON ANTHOLOGY OF POETRY shorter edition, THE PALM AT THE END OF THE MIND (Stevens), and M.H. Abrams' GLOSSARY OF LITERARY TERMS. [WL:1] (Krook)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre and Drama 211. (Walsh)
270. Introduction to American Literature. (3). (HU).
SECTION 001. This course will survey 19th and 20th century American literature, mostly the fiction. Writers to be studied include: Hawthorne, THE SCARLETT LETTER and stories;, Melville (stories);, Twain, HUCKLEBERRY FINN; Kate Chopin, THE AWAKENING; James, THE AMERICAN; Dreiser, SISTER CARRIE; Wharton, THE HOUSE OF MIRTH, Fitzgerald, THE GREAT GATSBY; Hemingway THE SUN ALSO RISES and Faulkner, GO DOWN MOSES. Two short (5 page) or one long (10 page) paper will be assigned. There will be a midterm and a final exam. [Cost:2] [WL:1] (Beauchamp)
SECTION 002. AMERICAN DREAM/AMERICAN NIGHTMARE: to introduce students to American Literature, this course will focus on a characteristically American issue: the gap between promise and practice. Our writers, with a combination of surprise and outrage that is also characteristically American, expose that gap, probe its origins, and imagine its consequences. Our approach will be psychological, cultural, and literary. Thus we will talk about personal dreams of freedom and self-definition, about the alienation that often results from the pressures of the culture to shape those dreams according to the imperatives of others, and about the diversity of imaginative forms and literary strategies authors choose to express these concerns. Our readings will include works by some of the following authors: Hawthorne, Melville, James, Wharton, Dickinson, Hemingway, E.L.Doctorow, Toni Morrison, John Barth and Rosellen Brown. Our format will be essentially discussion. Class requirements include regular attendance, two papers, short weekly writing, and a final exam. [Cost:2] [WL:1] (Wolk)
280. Thematic Approaches to Literature. (3). (HU).
A study of the familial structure and relationships in a number of nineteenth and twentieth century novels (British and American with one western European addition) as an approach to a fuller understanding of what the novels are about. The novels are all within the Western bourgeois tradition, a tradition they both represent and criticize in various forms of self-critical cultural analyses. The family will be seen from psychological, social and historical points of view, providing some of the material for fiction that each of the authors examines or shapes in his or her own way. A tentative reading list: Emily Brontë, WUTHERING HEIGHTS; Thomas Mann, BUDDENBROOKS: John Galsworthy, THE MAN OF PROPERTY; D,H, Lawrence, SONS AND LOVERS; Virginia Woolf, TO THE LIGHTHOUSE; William Faulkner, THE SOUND AND THE FURY; Angus Wilson, ANGLO-SAXON ATTITUDES or NO LAUGHING MATTER; Joseph Heller, SOMETHING HAPPENED; Saul Bellow, SEIZE THE DAY. Two papers, a midterm and a final examination. The class will combine discussion and interruptible lectures. [WL:1] (Gindin)
285. Introduction to Twentieth-Century Literature. (3). (HU).
SECTION 001. CHOICES AND CONFLICTS – THE TWENTIETH CENTURY IMAGINATION. As we discuss the development of twentieth century fiction, we will find ourselves ultimately grappling with the difficulties and inevitable dilemmas of being human. Although political and cultural factors will inform our discussions as they reflect the author's world picture, ultimately, we will be talking about human relationships. We will trace the cultural movement away from the end of the nineteenth century conception of more stable values and visions into a world that shows us authors rejecting those values. As we enter the modern conception of the world, we will watch the author's perception of time change from linear to a recursive flow; the past will become present; consciousness will become multiple, rather than singular. It is a fascinating "story" to be told. Although the specific reading list will be determined in early summer, selections from the following authors will be used to represent the early part of the century: Henry James; D.H. Lawrence; William Faulkner; James Joyce; T.S. Eliot; Virginia Woolf; and, Tennessee Williams. Later, as we read more contemporary works, we will explore selections made from the following list of texts: John Fowles, THE FRENCH LIEUTENANT'S WOMAN; John Irving's, THE CIDER HOUSE RULES; William Kennedy's, IRONWEED; Margaret Atwood's, THE HANDMAID'S TALE; Toni Morrison's, THE BLUEST EYE; Isabelle Allende's, HOUSE OF SPIRITS; D.H. Hwang's, M. BUTTERFLY; Amy Tan's, THE JOY LUCK CLUB; Gloria Naylor's, MAMA DAY; Marsha Norman's, 'NIGHT MOTHER; and, Michael Dorris', YELLOW RAFT IN BLUE WATER. The format of the class will be discussion and more discussion. The requirements will include: weekly, short, written responses to the works read; two thoughtful essays (6-8 pp.); and a final exam. [Cost:3] [WL:1] (Back)
SECTION 002. The course will consider how works of certain selected 20th Century writers and/or pioneers of modernism reflect the radical changes that have occurred in modern life and consciousness. Emphasis will be placed on the development of various literary forms, styles, and thematic preoccupations that are characteristic of this age, and, to dramatize the changes that have occurred, the class will read a novel of the 19th century by Jane Austen and a work by Dostoevski, also of the 19th Century, that anticipated some of those changes. Other texts will include works by Eliot, Joyce, Conrad, Mann, Woolf, and Kafka. There will be lectures and, if students are interested, attentive, and lively, there is certain to be good discussion. Two papers will be required as well as a final. [Cost:2] [WL:1] (Aldridge)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (Excl).
This course is open only to juniors and seniors who are fulfilling the Junior-Senior writing requirement. The ECB modification must be added at the time of registration. The goals of this course are a) to engage students in books that are enjoyable and instructive and b) to help them learn to write more effectively and with increased pleasure. The books come from a number of different cultural traditions and most are from the twentieth century. The papers will deal with the books' meaning to the student; there is considerable flexibility in the choice of topics. A book and paper will be required about every two weeks. About one-third of the lectures will deal with effective writing. The remainder will explore the meaning of the books. Both word processing and regular participation in a computer-based course conference are required. For students who do not know the CONFER system on MTS, there will be mandatory training at the beginning of the term. The computer conference is an important tool for increasing communication among participants in a large-enrollment class. (Meisler)
305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).
Though a requirement for students seeking certification as secondary-school English teachers, English 305 appeals to a broader audience interested in the structure of English and its varieties. Topics to be discussed include: regional and social dialect variation in the United States. English as a rule-governed language shaped by its history, and the history of ideas about good (and "bad" English). English 305 is designed for native-speakers of English (with no prior study of the language or of linguistics) who are curious about the language community of which they are a part. A midterm and final examination allow students to demonstrate the ability to make well founded generalizations based on the material studied. Short papers invite exploration of domains of language use. [Cost:2] [WL:1] (Bailey)
308. History of the English Language. (3). (HU).
Where did the English language come from, and what linguistic and other forces helped shape it into the language as we use it today? This course will cover the development of English, from the earliest times when Germanic peoples first settled in Britain, through the language of Chaucer and then Shakespeare, and up into the modern period. The first major theme of the course will be to investigate the internal linguistic history of the language: what sort of language English was at each stage, and what changes it went through. The second major theme will be the external history: the connection between language change and historical events, social structure, and cultural factors such as literacy. This is a lecture course with class discussion. Work will include participation in class discussions, several short homework assignments, a midterm, and a final. No college level classes in English language are prerequisite to this course, but a rudimentary knowledge of modern English grammar, or a willingness to learn something about it in the course of this class, is strongly recommended. (Wiegand)
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
SECTION 001. ENGLAND, AFRICA, AND THE SLAVE TRADE. In this course, we will examine English attitudes concerning race, Africa, African culture, and particularly, the enslavement of Africans. We will discuss how representations of Black people in eighteenth-century British literature influenced those attitudes. To some English minds of the period, African cultures appeared uniformly barbaric. To others, Africans represented a kind of natural, unsullied virtue. Most pro and anti-slavery writing begins with an assumption of one of these ideas. Course reading includes novels, poems, and non-fiction essays. There will be several short papers, a midterm, and a final. This course meets the pre-1800 requirement for English concentrators. [Cost:2] [WL:2] (Artis)
SECTION 002. STORIES OF HEROIC LOVE AND VALOR. Sidney'a ARCADIA and Spenser's FAERIE QUEENE were immensely popular in their own time and for long afterwards; they are probably the paramount literary embodiments of the Elizabethan spirit, and as such offer unmatched insight into the culture of the time. But we won't read them for that; we won't read them "for" or "as" anything. They are stories that have the power "to hold children from play and old men from the chimney corner," to adapt Sidney's words, and their aim – to adapt Spenser – is no less than "to fashion a . . . noble person in vertuous and gentle discipline." That should be enough. Course method: principally discussion, with frequent short papers, one longer paper, a midterm, and a final. This course meets the pre-1800 requirement for English concentrators. [Cost:2] [WL:1] (English)
SECTION 003. MEDIEVAL WOMEN: FACT AND FICTION. This course will examine images of women which occur in medieval literature in the context of what is actually known about the life, occupations and legal status of women in the Middle Ages. Recurrent images in the literature include the heroine of courtly romance, the saint, the mystic, the virtuous wife, the shrewish wife, the role-model offered by the Virgin Mary. Women are both idealized and satirized in genres such as romance, fabliau, drama and lyrics, and much of the course will be devoted to reading and discussing such works, including selections from the ROMAN DE LA ROSE, and works by Chaucer, Chrétien de Troyes and Marie de France. We will look at these works in the context of Biblical texts and commentaries and of other medieval writings which both reflect and helped to shape contemporary ideas about women, sex and marriage. We will consider too what some medieval letters and documents show about what life was like for women in the Middle Ages. [Cost:2] [WL:1] (McSparran)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
SECTION 001. INCONTINENT WOMEN AND THE RENAISSANCE STAGE. "Tell but some woman a secret over night,/Your doctor may find it in the urinal i'th'morning." The formula is one of the uglier moments in Renaissance drama; the sentiment is one of the most common. The logic goes like this: women are not intact; they can hold nothing in; their bodies are a figure for their minds. From this commonest of tropes we will take our broadest cues for study. Our texts will include a wide range of early 17th century plays, including but not limited to BUSSY D'AMBOIS, THE REVENGER'S TRAGEDY, HAMLET, THE CHANGELING, A CHASTE MAID IN CHEAPSIDE, and BARTHOLOMEW FAIR. We will also read a number of essays on the domestic, economic, medical, and representational status of women in English Renaissance. We will be particularly interested in the gendered drama of transgression on the Stuart stage. Two papers, frequent quizzes. [Cost:4] [WL:1] (Gregerson)
SECTION 002. This course will examine the relation between women and literature in terms of the literature that has been produced by women as well as the effect women writers have had on literary production. The historical focus will be on the two dominant literary movements of the 20th century: modernism and postmodernism. Writings will be selected from a variety of national literatures and will reflect a wide array of experiences as determined by class, race and sexual orientation. The reading material will represent several genres, such as non-fiction prose, novels and short fiction, poetry and plays. Writers might include: Virginia Woolf, Jean Rhys, Nella Larson, Dorothy Sayers, Jamaica Kincaid, Marguerite Duras, Christa Wolf, Margaret Atwood, Maxine Hong Kingston. The class will consist of lectures and group discussions. Requirements include several short papers and a final exam. [Cost:4] [WL:1] (Herrmann)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
SECTION 001. THE LITERATURE OF THE AMERICAN WILDERNESS. This is a Collegiate Fellows section; see page 3 of this COURSE GUIDE for a complete list of Collegiate Fellows courses. Puritan settlers in New England saw the forest around them as a "hideous and desolate wilderness," a place of "wild beasts and wild men" that they were destined to civilize. Today environmentalists characterize the Arctic National Wildlife Refuge as the "last great wilderness" in America and fight to save it from the oil companies. 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 twentieth-century responses to Alaska. Readings will include texts illustrating the place of wilderness in the American imagination such as Francis Parkman's THE OREGON TRAIL, Henry David Thoreau's THE MAINE WOODS, John Muir's MY FIRST SUMMER IN THE SIERRA, Mary Austin's LAND OF LITTLE RAIN, Aldo Leopold's SAND COUNTY ALMANAC, William Faulkner's THE BEAR, and N. Scott Momaday's HOUSE MADE OF DAWN. We will also read some short fiction, a selection of poetry (including poems of Robinson Jeffers, Gary Snyder, Wendell Berry, A.R. Ammons, and Mary Oliver), and excerpts from the journals of the Lewis and Clark expedition, from accounts of their travels by early naturalists (Bartram, Audubon), from the writings of frontier women, and from twentieth-century nature writers (including Edward Abbey, Annie Dillard, John McPhee, and Barry 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. [Cost:2] [WL:1] (Knott)
SECTION 002. Doctor, lawyer, merchant, professor – they have English in common with all of us; and each uses a specialized "language" that is Greek to most of us. The purpose of the course is to study the language behavior of lawyers and judges (and of witnesses and juries in their company). In the course: (1) Brief attention to how the lawyers' language "got that way"; (2) Study of lexical and syntactic features of lawyers' language in today's spoken (court room) and written (legislative and judicial) uses; (3) Extensive reading and discussion of Melinkoff's book THE LANGUAGE OF LAW and J.B. White's THE LEGAL IMAGINATION, an ample anthology of course pack essays and chapters by legal, psychiatric, and socio-linguistic scholars and some short fiction; (4) Interruptible lectures – some of these by guest experts in law and related professions; and (5) Many short written exercises, weekly or bi-weekly papers, a midterm and a final exam. (All of the assigned writing is to be entered on CONFER, a computer conference.) NB: The course will NOT raise any student's score in LS&AT or other mindless quizzes; it will NOT equip students for applying to or competing in any school of law. REGULAR participation in the Course (Computer) Conference is an UNWAIVABLE requirement for credit in the course. (Van't Hul)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
SECTION 001. SCIENCE FICTION. Science Fiction will examine both the history and the diversity of science fiction prose by reading some of the best examples written since the beginning of the nineteenth century. Generally, we will approach each primary text in three ways: through a consideration of its backgrounds (scientific, mythic, and so forth), through specific questions the text raises (moral questions, questions of plausibility, and so forth), and through the traditional discipline of criticism (What is science fiction? What is the relationship of character to theme? and so forth). The written work will revolve around weekly, short papers, two preliminary quizzes, and an objective final exam. Books include: Mary Shelley FRANKENSTEIN, Oxford (1818), Edgar Allen Poe (d. 1849) THE PORTABLE POE, Viking selections; Nathaniel Hawthorne (d. 1864), SELECTED STORIES OF NATHANIEL HAWTHORNE, Fawcett (selections); H.G. Wells, THE TIME MACHINE and THE WAR OF THE WORLDS, Northwestern Univ. Press (1937); Eugene Zamiatin, WE, Dutton (1920); Olaf Stapledon, (THE LAST AND FIRST MEN &) STAR MAKER, Dover (1937); Ray Bradbury, THE MARTIAN CHRONICLES, Bantam (1946-50); F. Pohl & C.M. Kornbluth, THE SPACE MERCHANTS, St. Martins (1953); Arthur C. Clarke, CHILDHOOD'S END, Ballantine (1953); Walter M. Miller, Jr., A CANTICLE FOR LEIBOWITZ, Bantam (1959); Robert A. Heinlein, THE MOON IS A HARSH MISTRESS, Berkley (1966); Ursula K. LeGuin, THE LEFT HAND OF DARKNESS, Ace (1969); and William Gibson, NEUROMANCER, Ace (1984). [Cost:3] [WL:1] (Rabkin)
SECTION 002. This course is designed to acquaint students with the central theories of comedy and a wide range of works that illustrate those theories in particularly striking ways. We shall be reading comic drama from Plautus to Pinter and beyond, comic fiction (including works by such writers as Henry Fielding, Evelyn Waugh, Peter DeVries, and Max Apple), and even some comic poetry. Toward term's end, we shall also be looking at recent and not-so-recent examples of film comedy. No special background is required, but students enrolled in this course should be flexible enough to think seriously about comedy and to recognize at the same time how mistaken it is to consider comedy no laughing matter. Occasional lectures will serve to direct and focus discussion, which will be the primary method of instruction. Student responsibilities in the course include the following: two or three brief essays, an oral report, and a comprehensive final examination. Regular class attendance is required, and each student's contribution to class discussion will be a factor in the assignment of grades. [Cost:2] [WL:1] (Jensen)
320/CAAS 338. Literature in Afro-American Culture. (3). (HU). May be repeated for a total of 6 credits with department permission.
THE HARLEM RENAISSANCE. The Harlem Renaissance! What images are conjured up by that phrase: the blues trailing out of smoky after-hours clubs; Renaissance men like Rudolph Fisher, medical doctor and mystery writer; the dicty folk on Striver's Row; brash Southern migrants like Zora Neale Hurston with "the map of Florida" on their tongue's; the Dark Tower and NIGGER HEAVEN; hair straightening magnate A'Lelia Walker and "voluntary" Negro Walter White. Was this immensely vital cultural explosion doomed from the start – or was it a necessary, if ultimately tragic, point in the trajectory of African American literature? In this course, we'll aim for what anthropologist Clifford Geertz would call a "thick description" of a bygone, possibly magic age, drawing on historical accounts, music, and, of course, a wealth of literary expressions. Readings may include such titles as Nathan Huggins' HARLEM RENAISSANCE, Nella Larsen's QUICKSAND, Rudolph Fisher's THE CONJURE MAN DIES, Wallace Thurman's THE BLACKER THE BERRY, Jessie Fauset's PLUM BUN, James Weldon Johnson's BLACK MANHATTAN, and Alain Locke's THE NEW NEGRO. Likely course requirements: consistent attendance and class participation, two papers, and two examinations. [Cost:3] [WL:1] (Zafar)
323. Creative Writing. Junior standing and written permission of instructor. (3). (Excl). May be repeated for credit.
SECTION 002. CREATIVE WRITING AND OTHER ARTS. A course in mixed media composition, especially combinations of poetry, drama, and fiction with graphic arts, painting, music, dance, and photography. Prerequisite: experience with one or more of these art forms and interest in exploring their relations with other forms of art. Permission of instructor to be obtained before CRISP registration by conference during office hours (posted on door of 2617 Haven Hall). [Cost:1] (Wright)
SECTION 004. Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately fifty (50) pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. Students who want to enroll in the course should get on the Wait list at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. [Cost:1] [WL:1] (Ezekiel)
329. Practical English. (4). (Excl).
SECTION 002. This is a Collegiate Fellows section; see page 3 of this COURSE GUIDE for a complete list of Collegiate Fellows courses. Don't take this course if you want an authoritarian instructor to provide you models for writing your resume. Practical English is a workshop that allows students a great measure of freedom in determining how they will structure their time and what they will write. But it also demands intense participation, commitment to peer groups for editing and grading (yes, grading), and willingness to use progressive revision for writing improvement. The workshop simulates a business or professional environment in which work is done both individually and collaboratively and in which writing and speaking are linked. Students typically produce such practical forms as letters, reports, memos, summaries, proposals, speeches, working papers, essays, minutes, and evaluations. Requirements: attendance at all class sessions and at group meetings outside of class; timely completion of a set of standard assignments and of a corporate project chosen by the workshop (total minimum 25 pages of finished prose plus delivery of two speeches). No exams. This course fulfills the upper-level writing requirement for non-concentrators. If you are not present at both of the first two sessions your CRISPed place will be given to someone else. Text: PRACTICAL ENGLISH HANDBOOK, Watking/Dillingham (1989). [Cost:1] [WL:1] (Crawford)
355. Core I (Great English Books). (4). (Excl).
SECTION 001. This course is the first in the three-part sequence required for those who concentrate in English literature. We will examine major works from the Middle Ages and Renaissance, including selections from BEOWULF, Chaucer's CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, the SECOND SHEPHERDS' PLAY, a Shakespeare play, and Milton's SAMSON AGONISTES. Our focus will be on the roles of women and the qualities of the hero in these works. Discussion with lecture as needed. Three short essays (3pp.) and one longer one (7 pp.), midterm, final. [Cost:2] [WL:1] (Tinkle)
SECTION 002. This will be a course in English masters of the late Middle Ages and the Renaissance. We shall read from medieval literature selections from Chaucer's CANTERBURY TALES (in Middle English), the romance, SIR GAWAIN AND THE GREEN KNIGHT, and the play EVERYMAN. We'll begin our reading in the Renaissance with sonnets by Sidney, Book III of Spenser's FAERIE QUEENE, and Marlowe's tragedy, DOCTOR FAUSTUS. We'll continue with lyric poetry by Shakespeare, Jonson, and especially Donne and conclude the term with Milton's epic PARADISE LOST. Discussion with short lectures on background. Two bluebooks, two short essays, and a take-home, two essay final. Text: the NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. I. [Cost:1] [WL:1] (Creeth)
SECTION 003. This course regards literature of the medieval and Renaissance periods, our earliest literature in English. It doesn't aim to be a survey, in any completeness, even of the most important works of that long span of time, but it will invite you, while taking Chaucer, Milton, and some of the great plays of medieval and Renaissance as its central reference, to read and range in this varied and delightful literature. Specifically, we will read selections from Chaucer's CANTERBURY TALES, selections from Milton's PARADISE LOST, a half-dozen medieval and Renaissance plays; SIR GAWAIN AND THE GREEN KNIGHT; a miscellany of lyric poems and prose selections. I'll use THE NORTON ANTHOLOGY OF ENGLISH LITERATURE (Volume I, current edition), one book to keep down costs to you. Because the literature in many ways appeals directly to us I hope you will be pleased to enjoy it on sight, but because it comes from a world long past one or two books in background studies will be assigned, and there will be some lecturing to make the work accessible in its time. I plan to ask you to write rather short papers five or six times, to a total of some 25 pages. There'll be one hour examination and one final examination. [Cost:1] (McNamara)
SECTION 004. We'll be reading some of the best literature in English from the earliest period through the mid-17th century. Texts are THE WANDERER and SIR GAWAIN AND THE GREEN KNIGHT in translation; Middle English selections from Chaucer's CANTERBURY TALES and from Malory's MORTE D'ARTHUR; Book One of Spenger's FAERIE QUEENE; poems by Sidney, Shakespeare, Donne, and Herbert; Jonson's VOLPONE; and selections from Milton's PARADISE LOST. Themes that surface include the spiritual journey, courtly love, and free will. I'll provide lively historical and intellectual background and help with the language, but I prefer that students ferret out interpretations through discussion rather than receive lectures passively. Requirements: class attendance and participation based on careful reading; quizzes, student discussion panels, and short writing throughout the term; two offbeat essays; a final exam. Text: NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. l; small course pack. You must be present at both of the first two sessions to hold your CRISPed place. [Cost:2] [WL:1] (Crawford)
SECTION 005. A) Reading: In this first of the three Core courses, the reading is of major English literary, works of the Middle Ages and the Renaissance - from anonymous Old and Middle English lyrics and prose pieces to Milton's PARADISE LOST. B) Writing: (1) Weekly, paragraphs and short (2-page) essays on currently assigned readings; (2) Impromptu exercises – in the form of "Items" and "Responses" on the MTS Course Conference;(3) a midterm and final exam. NB: THE COURSE *CONFER WILL BE THE ONE MEDIUM FOR ALL WRITING IN THE COURSE. ALL WRITTEN WORK WILL BE READ BY ALL MEMBERS OF THE CLASS. REGULAR PARTICIPATION IN *CONFER – I.E., SEVERAL TIMES WEEKLY, FROM BEGINNING TO END OF TERM – IS AN UNWAIVABLE REQUIREMENT FOR CREDIT IN THE COURSE. C) Classtime discussion: In several meetings of the class, there will be interruptible lectures – most on contexts, some on assigned works. Most meeting time will be given to discussion of currently assigned works. D) A Group Project: Early in the term, the class will be sub-divided into groups of five or six members; each group will be scheduled to make a one-hour presentation to the class during the last weeks of the term. E) The Texts: The NORTON ANTHOLOGY OF ENGLISH LITERATURE (Volume I). [Cost:1] [WL:1] (Van't Hul)
SECTION 007. This course, the first in the core sequence required of English concentrators, will examine the major works of English literature from the Middle Ages and the Renaissance. The readings will include: Chaucer's CANTERBURY TALES (selections), SIR GAWAIN AND THE GREEN KNIGHT, Marlowe's DR. FAUSTUS, Shakespeare's OTHELLO (lyrics by Donne and Herbert), Spenser's FAERIE QUEEN (selections), and Milton's PARADISE LOST. We will pay particular attention to the relationship between the literature and its social and historical context. Class will mix lecture and discussion, with occasional lectures intended to elicit discussion through an explication of this context. Requirements: attendance and participation, three papers, and final exam. [Cost:2] [WL:1] (Schoenfeldt)
SECTION 008. In this course we will read some of THE CANTERBURY TALES, from the beginning, and PARADISE LOST, from the end of our time span. In between we will read a concentrated selection of short poems and two or three non-Shakespearean plays of the Renaissance. The class work will be largely devoted to discussion of some of the assigned readings. There will be short written exercises, three papers and two special exams, and a final. The course text will be the first volume of the NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th edition, ed. Abrams et al. [Cost:1] [WL:1] (Lenaghan)
356. Core II (Great English and American Books). (4). (Excl).
SECTION 001. In this survey we shall analyze literary works in different genres written during the period 1680-1860. English Neoclassicism will be represented by readings in the poetry of Alexander Pope, as well as John Gay's THE BEGGAR'S OPERA and Daniel Defoe's ROBINSON CRUSOE. We shall then read extensively in the Romantic poets, especially Wordsworth and Keats, and study Jane Austen's PRIDE AND PREJUDICE. Crossing the Atlantic, we shall consider prose by R.W. Emerson, Herman Melville's MOBY DICK, and the poetry of Walt Whitman. These texts will be read in their historical context, some more than others. The format is lecture-discussion. Required work includes three papers, one midterm and one final examination. [Cost:3] [WL:1] (Goldstein)
SECTION 002. This section studies literature, including works, and related cultural arts in Britain in the 18th and early 19th centuries. Principal authors include Pope, Swift, Johnson, Blake, Wollstonecraft, Wordsworth, Coleridge, Shelley, and Keats. [Cost:2] (Wright)
SECTION 004. This is the second of the three Core courses required for English concentrators, covering English and American literature 1660-1850. The readings will, I hope, fall naturally into several kinds of balance that will help us appreciate a period that at first glance appears fundamentally imbalanced. Moving beyond some initial pairings – poetry/prose, English/American, Black/white, male/female – we will, with luck, perceive additional joinings (and leavings) that illustrate the ways people understood a world that was at best "harmoniously confused." There will be several short (5-7 pages) papers, a midterm and final exam. [Cost:2] [WL:2] (Artis)
SECTION 005. In this course we will read and discuss a wide range of English and American authors from the period 166 their historical contexts as well as to their explicitly literary concerns. Authors will include Congreve, Dryden, Bunyan, Behn, and Pope; Fielding, Radcliffe, Johnson, Wordsworth, and Keats; Hawthorne, Poe, Whitman, and Dickinson. Numerous texts will be available at Shaman Drum, and there will be a small course pack available at Kinko's. Requirements: heavy reading assignments; regular attendance at and participation in class; quizzes, two papers and two exams. [Cost:4] [WL:1] (Krook)
SECTION 006. Representative major works and authors from the Restoration to the early 19th century, with illustrations from other arts (music, architecture, gardening). We will follow the course of neo-classical poetics and criticism from Dryden through Pope to Johnson, and examine the romantic reaction in Wordsworth and Keats. This is not a lecture or correspondence course. I expect you to come to class ready to talk about the works. (Cloyd)
SECTION 007. The second of three Core courses required of English concentrators, this course focuses on English masterpieces from the Restoration to the Romantic period and on the American masterpiece of 1851, MOBY DICK. The English writers considered will be Dryden, Pope, Swift, Fielding, Austen, Wordsworth and Shelley. Classes will be a mixture of lecture and discussion, and demand close reading of the texts assigned. There will probably be a midterm and two papers in addition to a final examination. [Cost:2] [WL:1] (Schulze)
SECTION 008. In this course we will read representative works of English and American literature from the late seventeenth to the mid-nineteenth century. Texts will probably include Wycherley, THE COUNTRY WIFE; Defoe, ROXANA; the poetry of Alexander Pope; Richardson, PAMELA; the poetry of Wordsworth and Keats; Jane Austen, PERSUASION; Mary Shelley, FRANKENSTEIN; Douglass, NARRATIVE and the poetry of Emily Dickinson. Through close reading and active discussions, we will work towards interpretations of individual texts. We will also, however, be reading these works in relation to each other, tracing issues and themes (for example, literary representations of gender) throughout the term in order to study the relationships between literary form and historical change. There will be a brief (2-3 page) ungraded paper at the beginning of the term, two papers of 4-6 pages, a midterm and a final exam. [Cost:2] [WL:1] (Pinch)
357. Core III (Great English and American Books). (4). (Excl).
SECTION 001. A study of great books involves, presumably, a study of literary greatness. But how are we to define (or even begin to talk about) such artistic excellence? What, to further complicate the question, may be the relations between the "good," the "bad," and the "ugly" (the difficult or shocking) literature of a period? Throughout this course we will consider outstanding examples of English and American writing from 1850 to the present, attempting both to better understand the nature of selected works and to pursue the taunting issue of evaluation. Our goal will be to develop the skills of close, appreciative, and critical reading. In general, lectures will be introductory, setting a context for the class' discussions of writers such as Melville, Whitman, Dickens (George) Eliot, Tennyson, Browning, Wilde, Joyce, Stein, Hemingway, Pynchon, and others. We will also make use of a heterogeneous course pack. Students may expect to write two short papers, a midterm, a longer paper, and a final exam. Everyone should be willing to contribute to lively class debates. [Cost:2] [WL:1] (Leon)
SECTION 002. In one sense this course marches through a basic literary history from realism, through naturalism and modernism, to postmodernism, from 1850 to now. But the readings in this course are highly selective, and they are meant to suggest and to complicate a broad theme: ways in which some American and British authors have interpreted history and culture in a period of nearly a century and a half when individuals' ties with history and whatever power it may be thought to confer have repeatedly seemed cut. Required readings will be in fiction (Twain, Hardy, Chopin, Faulkner, Woolf, Ellison, Okada, Silko, Morrison) and poetry (from Whitman and Dickinson to Cathy Song). They are also multicultural, multiracial, somewhat varied with respect to social class, and written by women and men, as questions of race, ethnicity, gender, and class will be raised and addressed. Lectures and discussions will include comments on some dramas and numerous other authors in addition to the ones whose works are required. Students will write two brief (3 pp.) and one longer (10 pp.) papers on a choice of topics in the required or additional texts. Regular quizzes will be given to reward steady work and attendance and to test the students' grasp of main ideas as they develop in the course; otherwise, no exams. [Cost:4] (Sumida)
SECTION 003. This course, designed for English concentrators, will examine representative English and American literature of the post-Darwinist epoch. Works to be read and discussed will reflect the larger themes of anomie, entropy, and isolation. The reading list will include the following probables: Conrad, HEART OF DARKNESS with Greene, THE QUIET AMERICAN; Wharton, CUSTOM OF THE COUNTRY (or Chopin, THE AWAKENING – if not too familiar with Lawrence, LADY CHATTERLEY'S LOVER); Joyce, THE DUBLINERS with Anderson, WINESBURG, OHIO; Hemingway, AFRICAN STORIES with Faulkner, THE BEAR; Orwell, KEEP THE ASPIDISTRA FLYING with Updike, RABBIT IS RICH. Students will participate in discussion groups. The usual round of papers and exams will be required. (Eby)
SECTION 004. Third of the three Core courses required for English concentrators, this particular section will be appealing also to those in other disciplines or those working part-to-full time. Focus for the term will be on works by major British and American authors concerning the laboring class. Works include Dickens' HARD TIMES, Hardy's TESS OF THE D'URBERVILLES, West's DAY OF THE LOCUST, Woolf's A ROOM OF ONE'S OWN, Baldwin's NOTES OF A NATIVE SON, Updike's RABBIT RUN; plays by Miller and Pinter, a variety of poetry and short essays. Meeting in two-hour blocks allows movement from lecture and discussion to group presentation within one session. Several in-class writings, midterm, major paper. [Cost:2] [WL:1] (DePree)
SECTION 005. The third in the Core sequence for English concentrators, this course will treat British and American literature from the mid-nineteenth to the mid-twentieth centuries. Although the emphasis will fall on fiction, some poems of the major poets of the period – Tennyson, Browning, Yeats, Eliot, and Auden – will be studied. The fiction to be read includes George Eliot's MIDDLEMARCH, Henry James' PORTRAIT OF A LADY, Joseph Conrad's HEART OF DARKNESS, James Joyce's PORTRAIT OF THE ARTIST AS A YOUNG MAN, D.H. Lawrence's LADY CHATTERLY'S LOVER, F. Scott Fitzgerald's THE GREAT GATSBY, Ernest Hemingway's THE SUN ALSO RISES, and William Faulkner's THE BEAR. There will be two medium length papers (about six pages) and two hourly exams. The course will combine lecture and discussion. [Cost:2] [WL:1] (Beauchamp)
SECTION 006. In this course, the third of the core sequence in English and American literature, we will read poetry and prose from the second half of the nineteenth century to the present. As we read texts that have been considered representative of a certain cultural time and place, we will also examine the question of what it may mean to refer to a literary tradition in the past century. Authors to be considered include (but are not limited to): Mark Twain, Dickens, Tennyson, Browning, Joyce, Wilde, Woolf, Yeats, Hurston. Requirements include active classroom participation, two 5-7 page papers, periodic in-class response essays, and an exam. (Norich)
SECTION 007. We will examine selected texts in British and American literature from 1850 to 1950. The emphasis will be on novels and short stories, but we will also read a representative selection of Victorian and modern poems, and at least one play. The fiction includes Hardy's THE WOODLANDERS, Macaulay's NON-COMBATANTS AND OTHERS, Forster's A PASSAGE TO INDIA, and Faulkner's INTRUDER IN THE DUST, and short stories by Fitzgerald, Lawrence and Mansfield. Poems include works by Tennyson, Browning, Rossetti, Yeats, Pound, Eliot, Hughes, and several Great War poets. Students should have taken English 355 and 356 before electing this course. Our class meetings will combine discussion and lecture, with some timely additions of films and poetry readings. Written work will take the form of several short response papers, two medium-length papers (5-7 pages), a midterm and a final exam. [Cost:3] (Heininger)
367. Shakespeare's Principal Plays. (3). (HU).
SECTION 001. This course will focus on reading Shakespeare with an eye toward performance. Students will become acquainted with techniques of playwriting and conventions of tragedy and comedy as they apply to Shakespeare's work. Plays to be studied include: HAMLET, OTHELLO, A MIDSUMMER NIGHT'S DREAM, RICHARD III, MACBETH, KING LEAR, MEASURE FOR MEASURE, CORIOLANUS, and THE WINTER'S TALE. There will be two lectures and one discussion section per week; class sessions will also rely on several video productions for illustrative material. Student evaluation will be based on written assignments as well as examination. Students must sign up for the lecture and one discussion section. [Cost:2] [WL:1] (Brater)
391. Honors Survey: Medieval English Literature. Admission to the English Honors Program. (3). (Excl).
This course, the first in the English Honors sequence, focuses sharply on a series of major works from the Middle Ages. The purposes of the course are three-fold: to encourage, through discussion, a significant understanding of the meaning of the works we study; to enhance the students' ability to interpret literature; and to explore the relationships between the literary texts and their cultural contexts. The authors and works studied this term will include BEOWULF, Malory, Chaucer, SIR GAWAIN AND THE GREEN KNIGHT, EVERYMAN, ballads, and early drama. Requirements: several essays and a final examination. [Cost:3] [WL:Only Honors students previously admitted to the program may register. ALL students need an override.] (Garbaty)
392. Honors Survey: Renaissance English Literature. Admission to the English Honors Program. (3). (Excl).
This course, the second in the English Honors sequence, is designed to be taken concurrently with English 391. Its purpose is to introduce students to major works of the English Renaissance, with attention to the evolution of literary forms in the period, the relationship of literary works to cultural and political contexts, and the interplay of classical and Christian traditions. Works read will include a generous sampling of lyric poetry (including that of Wyatt, Sidney, Shakespeare, Donne, Jonson, Herbert, and Marvell), several plays by Shakespeare and his contemporaries, Spenser's FAERIE QUEENE (selections) and Milton's PARADISE LOST. There will be several papers and a final examination. [Cost:2] [WL: Permission of Honors Chairman.] (Knott)
406/Ling. 406. Modern English Grammar. (3). (Excl).
English 406 is an advanced survey of descriptive English grammar. The approach will be functional and theoretically eclectic. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (word formation, "parts of speech," phrases, clauses and sentences) and we will discuss how these structures contribute to the expressive potential of the system. There will be daily practice in grammatical parsing, weekly quizzes, and a final exam on the factual material. The course should be attractive to those professionally interested in English education, practical criticism, or further work in linguistic theory – as well as those generally interested in becoming more articulate about the structure of our language. Texts: Randolph Quirk and Sidney Greenbaum, A CONCISE GRAMMAR OF CONTEMPORARY ENGLISH and John Algeo, EXERCISES IN CONTEMPORARY ENGLISH. (Cureton)
411. Art of the Film. (3). (HU). May be repeated for credit with department permission.
This course will examine the development of film theory and criticism from the days of silent motion pictures to the present, paralleling the discussions with the screening of relevant films. The course aims to provide a historical overview of film theory and criticism, ranging from the earliest explanations of the new phenomenon of motion pictures, seen as distinct from all other forms of art, to the most recent attempts at viewing film through theoretical perspectives taken from the other arts. (Paul)
412/Film-Video 412. Major Directors. (3). (HU). May be repeated for credit with department permission.
SECTION 002. ITALIAN NEOREALISM AND FRENCH NEW WAVE. This course studies two of the most significant movements in film after the Second World War. Both Italian Neorealism and the French New Wave were in response to moribund film industries in their native lands and both were to expand the sensibilities and techniques of future filmmakers throughout the world. We shall examine the individual achievements of major films from each group while also placing such works in the context of the history of cinema. We shall also develop some theoretical concepts about film in general by playing these two groups off one another. The films we shall probably view are Rossellini's "Open City" and "Paisan," Visconti's "Terra Tremma," DeSica's "The Bicycle Thief," "Umberto D," and "Miracle in Milan," Truffaut's "400 Blows," "Shoot the Piano Player," and "Jules and Jim," Godard's "Breathless" and "A Married Woman," and Resnais' "Hiroshima, Mon Amour" and "Last Year at Marienbad." Students will write a midterm and final paper, each about eight pages, and take a midterm and final examination. [Cost:2] [WL:1] (Konigsberg)
413/Film-Video 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.
THE AMERICAN MUSICAL. We will make a careful analytical study of representative major films spanning the history of the American musical. I will post the exact schedule of films outside my office (2627 Haven Hall) after negotiations are complete and before the beginning of Fall Term, 1990. The emphasis of the course will be on musicals conceived as films, not on adaptations of Broadway shows. There will be one film per week, two lecture classes (one of these for two hours), and mandatory small discussion groups, scheduled at your own convenience English/Film-Video 413 may be repeated if content is different from a previous election; there are no prerequisites. Nevertheless, the course is not "An Introduction to the Movies." Previous work in film history, theory, mechanics, critical analysis, and aesthetics couldn't hurt. Our focus will be on what these films say and how they say it, their styles, their "languages," their content, and their context. Should film study be new to you, I will be happy to recommend preparatory reading before you leave for the summer vacation. The course will pay attention to meat and potatoes as well as to sauce and soufflé land, (and while we're at it, to nuts and bolts; it isn't all culinary). An obligatory lab fee, cheaper even than admission to campus film societies let alone commercial houses, covers the cost of seeing films, probably at the Michigan Theater. Some reading (Giannetti's UNDERSTANDING MOVIES or an alternate text if that is old news to you) and rigorous writing. Two two-page papers; two five-page papers, final exam. No "Incompletes." The subject matter of this major American film genre is enticing and, clearly, a lot of fun, but it is also eminently suitable for serious (which does not mean "solemn") study. Bad writers will find no place to hide. Anyone who uses "media" with a singular verb flunks. [Cost:2] [WL:1] (Bauland)
416/Hist. 487. Women in Victorian England. (4). (Excl).
This is an interdisciplinary course using history and literature to explore the position of women in Victorian England (1837-1901). You may receive either English or History credit. The Victorian age in England saw some of the most culturally repressive attitudes toward women, but also some of the strongest efforts to emancipate women. These extremes coincided with the first industrial revolution, and a time of great disparities in wealth and poverty. We will explore the stereotypes of the ideal woman, and the many responses to her; the struggle to improve women's education and to open the professions; the living conditions and lives of rural and urban working women; and such general issues as sexuality, crime and prostitution. Readings will include a course pack, three novels, an autobiography, critical essays of the times and modern interpretations. Requirements include one paper, one annotated bibliography and a final exam. (Vicinus)
417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (3). (Excl).
NOTE: ENGLISH 417 SHOULD BE ELECTED BY SENIOR ENGLISH CONCENTRATORS ONLY. English 417 along with the Core courses meets the Junior-Senior writing requirement for English concentrators ONLY. Please ADD the ECB MODIFICATION for 417 AT CRISP.
SECTION 001. "Liberation" from foreign domination is the most remarkable event of 1989-90, and, though writers are just beginning to consider it as a subject for literature, the past generation has witnessed major writers in English who have come to terms with political freedom and pushed aside the hegemony of the Anglo-American literary tradition. In this senior seminar, we will read poetry, drama, and fiction produced around the world that responds to new conditions of independence – freedom from old forms and stale conventions – written in a kind of English that itself expresses a celebration of the community for which (and by which) it has been produced. In addition to common readings, each student will investigate an author of literary work and present (orally and in writing) conclusions independently reached. [Cost:2] [WL:1] (Bailey)
SECTION 002. Senior seminars are places where students who have learned
various ways of approaching texts can come to grips with their own preferred
methodologies. Our own literary criticism can be done well or badly depending
on our awareness of what's involved. In this section we will broaden our
sense of what the activity of criticism entails, and will try our skills
on certain selected texts. Our principal activity here will be critical
practice – which of course means lots of writing – rather than the mastery
of a reading list. We'll do lots of short papers, and work through several
drafts of a long critical essay. For our texts we will use some critical
readings, some short stories and a couple of novels; not a heavy reading
load, but a varied and challenging one. The critical readings will be in
a course pack, and will include rationales for deconstruction, feminism, and historicism, as well as more traditional critical approaches. This won't
be ready till fall; if you want to begin your reading over the summer, start
with Joan Didion's A BOOK OF COMMON PRAYER. Better yet, come see me before
summer break or write me a note, saying what your special interests are
and what your summer address will be. [Cost:2] [WL:1] (Ingram)
SECTION 004. THE PRACTICE AND THEORY OF CULTURAL CRITICISM. Though pursued by a growing band of specialists, the critique of "culture" remains a strikingly unregimented activity. It attracts sociologists, historians, philosophers, anthropologists, psychologists, literary critics, and others. Through this seminar we will explore the diversity of current investigations while studying the theories (or conceptions) that support them. We will also attempt to account, historically, for the nature of the cultural self-consciousness of the last several decades. While over half of our time will be devoted to the 20th century, we will read major 19th century critics at length, consider 18th century revolutions in historical reflection, browse through Renaissance explorers' narratives, and follow Herodotus on his excursions into Egypt and Babylonia. Students may expect readings (some necessarily brief) in Voltaire, Herder, Carlyle, Comte, Arnold, Marx, Ruskin, Weber, 20th century Modernists and Avant-Gardists, the "Frankfurt School," (Raymond) Williams, Barthes, Foucault, Geertz, and others. The seminar culminates in a significant, imaginative research paper (15-20 pages) – one first aired as a class presentation. Students will also be expected to contribute to discussions by preparing, on occasion, brief commentaries on the reading. [Cost:3] [WL:1] (Leon)
SECTION 006. THE MANAWAKA FICTION OF MARGARET LAURENCE. This seminar will examine some of the fiction of Canadian writer Margaret Laurence in relation to her own critical and autobiographical essays and her African fiction and non-fiction and against the background of other Canadian fiction and works of Canadian history. Students will select the supplementary reading from such writers as Martha Ostenso, W.O. Mitchell, Sinclair Ross, Ethel Wilson, Rudy Weibe, Robert Kroetsch, and Farley Mowat. We will read together the five books of Laurence's Manawaka Saga – THE STONE ANGEL, A JEST OF GOD, THE FIRE-DWELLERS, A BIRD IN THE HOUSE, and THE DIVINERS – and relevant essays in her HEART OF A STRANGER and A PLACE TO STAND ON. Students will read reports on the fiction and will prepare a substantial essay. Supplementary fiction and histories will be on reserve. [Cost:2] (Powers)
SECTION 007. MEDIEVAL LOVE TALK. This course will explore the literary conventions of medieval love talk – concentrating on how men use standard expressions to define gender roles and on how women respond. While reading medieval French (in translation) and English poetry and personal letters, we will draw on a variety of critical theories to enrich our understanding of what conventional love talk means. Primary texts to be covered include Andreas Capellanus' THE ART OF COURTLY LOVE, the letters of Abelard and Heloise, Chaucer's PARLIAMENT OF FOWLS and KNIGHT'S TALE, and John Lydgate's TEMPLE OF GLASS. Two short papers (5 pp.) will allow you to develop your own response to the theoretical concerns of feminism, gender studies, Marxism, and so on. One longer research paper (20 pp.) will encourage you to work closely with both theory and primary text (or texts) to set forth your own ideas about the meaning of medieval love talk. This course meets the pre-1800 requirement for English concentrators. [Cost:4] [WL:1] (Tinkle)
SECTION 008. This senior seminar, an intensive exploration of fantasy and science fiction prose published since 1960, is intended for students with prior knowledge of the field. The aims of the course will include at least enjoying the reading, learning about each work, studying the diverse forms these genres have recently taken, and understanding the reasons fantasy and science fiction are currently so popular. The course readings will begin with a set of works diverse in genre, in subject, and in the demographic characteristics of their authors. Throughout the course, students are to keep and exchange reading journals. Students will be assigned to reading groups that will study works of the students' own choice in order to widen each individual's background and to make that new knowledge available to the seminar as a whole. Each reading group will choose one work to add to our collective syllabus and will prepare a group paper explaining how and why that work was chosen. In the week for which we read those additional works, the choosing group will lead the seminar. Each student in that reading group will then write an individual paper dealing with the recommended book. The course grade will come from the reading journal (30%), the group paper (20%), the individual paper (30%), and participation (20%). Gabriel Garcia Marquez, ONE HUNDRED YEARS OF SOLITUDE (Avon), 1967; Stanislaw Lem, HIS MASTER'S VOICE (Harcourt Brace), 1968; Philip K. Dick, BLADERUNNER (DO ANDROIDS DREAM OF ELECTRIC SHEEP?) (Ballantine), 1968; Thomas M. Disch, 334 (Carroll and Graf), 1974; Anne Rice, INTERVIEW WITH THE VAMPIRE (Ballantine), 1976; Anne McCaffrey, THE WHITE DRAGON (Ballantine), 1978; Octavia Butler, DAWN (Warner), 1987. [Cost:3] [WL:1] (Rabkin)
SECTION 009. AMERICAN DOCUMENTARY FILM. A close study of mainly United States documentary films, plus some photographs and written documents, and theatre. Among the questions we will address are the nature and range of the form, the responsibility of the documentary artist, the relation of the documentor and documented, methods of empowering normally unorganized people to do their own documentary, access of the documentary to mainstream and other distribution. The following films, and many others, will be studied: NANOOK OF THE NORTH, FURY IN THE PACIFIC, NATIVE LAND, SALT OF THE EARTH, TITTICUT FOLLIES, NO VIETNAMESE EVER CALLED ME NIGGER, SALESMAN, PORTRAIT OF JASON, MARJOE, HEARTS AND MINDS, HARLAN COUNTY USA, MEMORY OF JUSTICE, ROSIE THE RIVETER, ROGER AND ME and THE AIDS SHOW. Reading will include NOW LET US PRAISE FAMOUS MEN. Emphasis will be on discussion. There will be regular writing assignments and the final project will be small group production of video documentaries. (Alexander) NOTE: There will be a lab fee required for this course, but we will use fewer texts. Therefore, the cost for this section will be no more than that for any other section of 417. [Cost:2] [WL:1] (Alexander)
Section 010. We will spend the entire term reading most of the works of James Joyce: DUBLINERS, A PORTRAIT OF THE ARTIST AS A YOUNG MAN, ULYSSES, and selections from FINNEGANS WAKE. (Most of the time, of course, will be devoted to ULYSSES.) You do not need any previous familiarity with the texts, but you should bring a commitment to reading "difficult" prose with at least the intensity and patience you devote to poetry. This is a seminar: class proceeds by discussion. Requirements (probably) will include some oral reports, two papers (one short; one long), and some variation on a final exam. [Cost:2] [WL:1] (Zwiep)
SECTION 011. In this course we will explore the means by which selected twentieth-century authors assert their authority as creators of literature that proclaims its newness, its modernity, its radical separation from the past. How does an artistic revolution announce, promote, and defend itself? What relations exist between aesthetic and political innovation in the first three decades of this century? How do social changes – the first world war, for example, or the increased power of women, the technological sophistication of the printing press, the advent of the new sciences of psychology and anthropology – affect modern literature? How do the newly empowered make their bids for authority in a culture used to hearing their voices? We will read works by Sigmund Freud, Hilda Doolittle, T.S. Eliot, Ezra Pound, W.B. Yeats, Virginia Woolf, James Joyce, Ford Madox Ford, Rebecca West, D.H. Lawrence, and Zora Neale Hurston, as well as contemporary theoretical considerations of these questions. This course will be built around discussion; attendance is mandatory. Each student will make two oral reports during the term, and will write two short papers (5 pp.) and one long paper (15-20 pp.). [Cost:3] [WL:1] (Whittier-Ferguson)
SECTION 013. In this seminar we will read seven contemporary novelists (Maclean, Kennedy, Morrison, LeCarre, Kogawa, Bradbury, Gibbons) widely praised for the power of their prose, and many writers of smaller pieces-also contemporary-widely dispraised for their ineffective style. Our purpose will be to inform our own writing and editing with principles for effective prose that we discover in our reading and define in our discussions. [Cost:3] [WL:1] (Fader)
423. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.
This will be a workshop in the writing of long fiction – two or three major stories, a novella, or the beginning or continuation of a novel. Class meetings will be devoted to discussion of work by members of the group purchased on a weekly basis from one of the local Xerox companies in the form of a course pack. Grading will be on a modified contract basis; the procedure will be explained at the first meeting. Admission on the basis of an ample writing sample, perhaps part of a novella with a plan for the rest, submitted to the instructor's mailbox or in his office (7626 Haven) by May 4. But space will be reserved for others who bring a sample to the first meeting. No text, no exams. [Cost:1] [WL:4] (Creeth)
427. Playwriting. Permission of instructor. (3). (Excl). May be repeated for credit.
This is an advanced playwriting class in which students write their own plays, which are performed by theatre students. Students should have some previous experience in playwriting. Admission is by permission of instructor. Students interested in joining the class should put their names on the Wait List at CRISP and leave a phone number and address with the English Department Main Office, 7611 Haven Hall. You will be contacted when more details become available.
428. Senior Writing Tutorial. English 223, 323, and 423/429 or equivalent (3). (Excl).
This course is a combination writing workshop/thesis tutorial for undergraduate students who are in their last year at Michigan, have taken the 200-,300-, and 400-level writing workshops, and have been accepted into the Creative Writing Program. Students will complete a major manuscript of fiction or poetry. Supervised reading and writing assignments will also form a part of the curriculum. Regular tutorial meetings between students and faculty will take place; workshops in fiction and/or poetry might be arranged. The course is designed to afford students and faculty the greatest flexibility and latitude in devising the most beneficial working arrangements, given the particular needs of students taking the course that term. [Cost:1] [WL:1] (Ezekiel)
429. The Writing of Poetry. Written permission of instructor is required. (3). (Excl). May be repeated for credit.
This course is a poetry-writing workshop. Students will circulate and discuss their poems written during the term, as well as analyze a selection of poetry and criticism by eminent contemporary poets. We shall use an anthology of recent poetry as our central text. Students should be prepared to devote considerable time to composition and revision, and to extensive commentary on their fellow students' writing. Each student will keep a journal of readings, ruminations, and materials for poems. Some experience in creative writing courses is desirable, though not essential. Permission of the instructor is required. Leave a sample manuscript of 3-5 pages in Professor Goldstein's mailbox in the English Department office during the week before the first day of class or bring the manuscript to the first class. A class list will be posted on the door of 1617 Haven Hall after the first day of class. [Cost:1] [WL:See course description.] (Goldstein)
430. The Rise of the Novel. (3). (Excl).
As its name implies, the novel as a genre defines itself in terms of its newness. Both Samuel Richardson and Henry Fielding confessed that they had invented a "new species" or "new province" of writing. One of the central questions that this course will seek to answer is how and why did writers of prose fiction in the eighteenth century make their work seem new? Since a literary work, even one professing to be new, does not exist in an informational vacuum we will want to establish the context of the novel's novelty. What is unique and what is borrowed in the works of eighteenth-century novelists? Where do influence and inspiration meet? How does tradition or expectation produce innovation? Examining writers from Aphra Behn and Daniel Defoe to Laurence Sterne and Mary Shelley we will, over the course of the term, raise these and other issues in both lecture and discussion format. Requirements will include occasional informal assignments, two formal essays and a final exam. Committed and informed participation in discussion periods will be expected of all students. [Cost:2] [WL:1] (Flint)
432. The American Novel. (3). (Excl).
Why do American writers express the subtlest philosophical issues through violent and melodramatic actions? Why do they create characters who aren't quite people, plots which interrupt themselves so often that they aren't quite stories, environments that are not the streets and houses we know, and endings that are not resolutions or answers so much as disturbing open questions? We will wrestle with these problems in an attempt to define what is unique about American fiction. At the same time, our primary focus will be on each work in terms of itself. The course will proceed ahistorically, by concerns rather than dates. This is a tentative listing of those concerns and the writers and works we will consider. Frontier as Metaphor: Hawthorne (Stories), Twain (HUCKLEBERRY FINN), James (DAISY MILLER), Barth (END OF THE ROAD). Thinking the Self into Being: Chopin (THE AWAKENING), Fitzgerald (THE GREAT GATSBY), Mailer (AN AMERICAN DREAM). Ontological Insecurity, or Anxiety and Power: Melville (BENITO CERENO and Moby-Dick), James (TURN OF THE SCREW), Faulkner (THE SOUND AND THE FURY). We will move forward and back in time to identify literary and experiential issues that have seemingly permanent status in American lives. The course will combine lectures and discussions. Weekly journal entries, a term paper, and a final exam will be required. [Cost:3] [WL:1] (Weisbuch)
433. The Modern Novel. (3). (Excl).
A study of the development of and changes in the Modern Novel over more than a century in France (the two examples read in English translation), England and America with attention both to literary history and to the novels as distinctive works of art. A tentative reading list: Flaubert, MADAME BOVARY; Hardy, JUDE THE OBSCURE; James, THE AMBASSADORS; Conrad, THE SECRET AGENT; Bennett, THE OLD WIVES' TALE; Woolf, TO THE LIGHTHOUSE; Lawrence, WOMEN IN LOVE; Fitzgerald, TENDER IS THE NIGHT; Bellow, SEIZE THE DAY; Lessing, THE GOLDEN NOTEBOOK; Robbe-Grillet, JEALOUSY. The class combines discussion with interruptible lectures. Two papers, a midterm, and a final examination. [WL:1] (Gindin)
441. Contemporary Poetry. (3). (Excl).
THE LIVE POETS SOCIETY. This class will study the work of living poets in order to explore the issues and methods of postmodern poetics. We'll read books by five contemporary poets, each of whom will give a public reading and visit the class. Thus, the class will have a chance to ask the author pertinent questions about the work. In addition to the assigned eight to ten volumes of poetry, there will be a course pack consisting of interviews, essays, and a selection of poems by authors influential to the poets under study. (The latter will provide a broader historical and present day context.) Expenses for required books will be heavy. Students should be prepared to spend money (no more than $75) on books. It's essential that you've studied poetry previously. Requirements include weekly short (two pages), typed papers. These will not be graded, but they will be noted. The short papers will form the basis for two longer papers (ten pages each), which will be important parts of your grade. You'll also be asked to submit questions for the authors to answer. ATTENDANCE IN CLASS AND AT THE READINGS IS MANDATORY. [Cost:3] (Fulton)
442. History of Poetry. (3). (Excl).
In this course we will read a substantial amount of poetry by most of the major makers of the short poem in English from the early Renaissance roughly to the present. Take the definition of the short poem as elastic, and as encompassing the four lines of "O Western Wind" as well as longish poems like "Lycidas," "The Rape of the Lock," and "Sunday Morning." The aim of the course is pleasure, broadly construed. The informing principle is that poetry gives the highest pleasure. If you endorse this principle, you are a good candidate for the course. I will teach from the open book – no formal lectures – and will encourage and in fact insist on give and take between me and the class. We will use the NORTON ANTHOLOGY OF POETRY. There will be 1 or 2 short papers and a final. The test will be like the papers: essays in criticism. [Cost:1] [WL:1] (Fraser)
443/Theatre 321. History of Theatre I. (3). (HU).
See Theatre and Drama 321. (Billings)
447. Modern Drama. (3). (Excl).
Careful reading of representative British and Continental European plays from the beginnings of the modern drama in the late 19th century to the time of World War II. (American Drama is the province of English 449; post WWII drama is covered in English 448.) Consideration of plays in their relationships to dramatic movements, theatrical backgrounds, social forces, world events, and trends of thought. Readings will be chosen from among these playwrights: Ibsen, Strindberg, Chekhov, Shaw, Pirandello, Brecht, and several others. Required "outside" readings may be chosen from among these or a list of works by other representative playwrights of this period. Lectures and discussions, the quantity of the latter dependent upon class size. Some secondary readings in addition to the basic list of plays and "outside" choices; about 25-30 plays in all. Students will write two papers (the second longer than the first), keep a reading log, and take a final examination. [Cost:2] [WL:1] (Bauland)
449/Theatre 423. American Theatre and Drama. (3). (HU).
See Theatre and Drama 423. (Ferran)
457/MARC 457. Renaissance English Literature. (3). (HU).
SEXUALITY AND SELF IN THE RENAISSANCE. This section is jointly offered with Institute for the Humanities 411.003, for the Fall Term, 1990. (Schoenfeldt)
459. English Neoclassical Literature. (3). (Excl).
This course in later eighteenth century English literature will be centered on the most eminent writer of the age, Samuel Johnson, and his friends. He was preeminent in a group of artists, actors, and authors, both men and women, who excelled individually and who shone as a group, making London in the mid- and late-eighteenth century brilliant with their works and wit. Our approach will be primarily but by no means exclusively biographical, using Boswell's LIFE OF JOHNSON as a handbook as we follow the lives and work of Johnson, Boswell, Reynolds, Goldsmith, Burke, Fanny Burney, Hester Thrale, Hannah More, David Garrick, and others whose lives and work were powerfully affected by Johnson. This course offers students an opportunity to study a few authors in depth, to live familiarly in 18th century London, to examine genres (biography, travel literature, periodical journalism, legicography, history) often neglected in literature courses, and to pursue special interests through study of members of Johnson's circle (a few examples: History (Burke and Gibbon); Aesthetics (Burke and Reynolds); the Theatre (Garrick and Goldsmith); the Novel (Goldsmith, Burney); the Status of Women Writers (Burney, Thrale, More, etc.). There will be a final examination, one common paper, and special projects tailored to the interests of individual members of the class. [WL:4] (Cloyd)
465/MARC 465. Chaucer: The Canterbury Tales. (3). (Excl).
Extensive reading of Chaucer's CANTERBURY TALES is combined with lectures on Chaucer's life, sources and analogues of the tales, courtly love, past Chaucerians and their work, problems of interpretation, and aspects of the manuscript tradition. Everything is read in Middle English and discussed in class. Several short papers and a longer paper for graduate students will be required. The course is an introduction to Chaucer by way of the Tales, but an introduction to Chaucer is an introduction to life, medieval and modern, so that this course is only the beginning of a process of learning. Benson's THE WORKS OF CHAUCER, 3rd edition, is the necessary text. [Cost:3] [WL:1] (Garbaty)
471. Nineteenth-Century American Literature: Key Texts. (3). (Excl).
A survey of nineteenth century American fiction, non-fiction, and poetry up until the Civil War. The course will identify important cultural dilemmas and opportunities facing American writers of this period, most notably the emergence of a national culture, the question of a truly "democratic" literature and what this means, the impact of slavery as well as other explosive issues of the time. Authors to be studied include Hawthorne, Poe, Melville, Stowe, Thoreau, Whitman, and Dickinson. Requirements: two papers and final exam. [Cost:2] [WL:1] (Larson)
472. Twentieth-Century American Literature: Key Texts. (3). (Excl).
SECTION 001 – We will study the diversity of voices in American writing, not focus only on the classical canon. We will attempt to identify and understand themes and styles that tell us what unite us as a people and what divides us as a nation of diverse people with radically different economic, ethnic, racial, sexual, and education experiences. We will try to understand the uses and importance, if any, of literature in our country. We will test with each other our individual reactions to the reading, learning together to read and talk about our reading with increased sensitivity. Texts will include Anaya's BLESS ME, ULTIMA, Cervantes' EMPLUMADA, Cisneros' HOUSE ON MANGO STREET, Erdrich's LOVE MEDICINE, Baraka's DUTCHMAN AND THE SLAVE, Marshall's PRAISESONG FOR THE WIDOW, Walker's MERIDIAN, Fitzgerald's GREAT GATSBY, Ohada's NO-NO BOY, Naylor's WOMEN OF BREWSTER PLACE, Silko's CEREMONY, poetry by Adrienne Rich and Denise Levertov. Emphasis will be on discussion, both large and small group. The nature and timing of papers and exams will be decided together by teacher and the class. There will be opportunities for group and creative projects. [Cost:3-4] [WL:1] (Alexander)
473. Topics in American Literature. (3). (Excl).
SECTION 001. U.S. WRITERS ON THE LEFT. For Fall Term, 1990, this section is offered jointly with American Culture 498.001. (Wald)
SECTION 002. NORTH AND SOUTH AMERICAN LITERATURE. A study of themes common to both United States and Spanish-American literature. The course will identify common cultural dilemmas and opportunities in the Americas and examine how Spanish-American writers have honored the literature if not the political power of the United States. Topics include: (1) Faulkner and Garcia Marquez as creators of imaginary fictional countries with real family histories, in GO DOWN, MOSES and ONE HUNDRED YEARS OF SOLITUDE; (2) Toni Morrison's BELOVED as counter-history to Faulkner's and as a home-grown example of magical realism; (3) Borges and Poe as elaborate provincial artificers, cosmopolitan dreamers in an American setting; (4) Neruda and Whitman as poets of the vast American landscape and of American sensuality, uncertainty, and fraternity; and (5) popular arts – films, music, soap operas – as a basis for the new Latin novel and a means to a common idiom, with differences, in North and South America. Historical background will be provided when it seems called for. A reading knowledge of Spanish is desirable but not necessary. Students will be asked to contribute to discussions, keep a journal, and write a major paper. [Cost:4] [WL:4] (McIntosh)
SECTION 003. AMERICAN INDIAN LITERATURE. What is American Indian literature? Since the earliest contact, Euro-Americans have written about the people and cultures they encountered as they explored, colonized, and settled the New World. Though not always historically or culturally accurate, the image of the Indian that has developed from these writings has had a persuasive impact on the way non-Indians view and understand the American Indian. Can this be American Indian literature? For centuries before and after white contact, Indians have used and perpetuated an oral tradition to remember their history and religious doctrine, and to develop stories for amusement and teaching. Through the years, the songs, prayers, chants, stories, mythologies of numerous American Indian peoples have been collected, translated, and recorded in written form. Can these collections be called American Indian literature? Beginning with the first Indians who could speak and write a European language, Indians themselves have contributed written works to American literature. These work in many cases reflect the author's Indian heritage as well as their perception of the non-Indian world. Is this Indian literature? The possible answers to all these questions will be explored in this class. Students will read literature from each of the categories identified above and students will be asked to discuss – in class - the validity of each category to be labeled "American Indian Literature." [Cost:3] [WL:4] (LeBeau)
478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (Excl).
See Afroamerican and African Studies 476. (Awkward)
482. Studies in Individual Authors. (3). (Excl). May be repeated for credit with department permission.
SECTION 001. SIR PHILIP SIDNEY: THE POLITICS AND POETICS OF THE ELIZABETHAN COURTIER. For more than a century after his death, Sidney's literary reputation eclipsed that of all other English writers of his generation, including Shakespeare. The mythology attached to his person eclipsed even his literary reputation. Sidney was born into one of England's great families and died of battle wounds at the age of 31; he was the master of courtly accomplishment and champion of the international Protestant cause. His causes were also the great failed causes of the age, until the 17th century turned them to revolution. Our primary literary text will be Sidney's long prose romance, THE COUNTESS OF PEMBROKE'S ARCADIA. We will read additional materials, both primary and secondary, on Sidney, Elizabeth, and the varieties of Elizabethan courtly spectacle, including the tiltyard tournaments, which featured (and produced) the flower of Elizabethan chivalry. Our topics will include the Tudor chivalric revival, courtly patronage and poetic career, Elizabethan nationalism and pastoral romance, the politics of nostalgia in the late Tudor monarchy. Two essays, frequent quizzes. [Cost:3] [WL:1] (Gregerson)
SECTION 002. DICKENS. Wilkins Micawber, that famous man of letters, wrote to David Copperfield, "Go on, my dear sir, in your eagle course!. . . . We watch it with delight, with entertainment, with instruction." We will undertake to follow Charles Dickens' "eagle course" through six major novels, and will expect to read "with delight, with entertainment, with instruction." We will read each novel closely and carefully, exploring such themes as alienation and orphanage, education, the function of knowing and the role of the imagination, the meaning of work, and the philosophical significance of happiness. We will be concerned with Dickens the social critic and Dickens the artist, with his realistic representation of this world and with the imaginative understanding which transforms this world into meaning. In order, our novels are OLIVER TWIST, DAVID COPPERFIELD, BLEAK HOUSE, GREAT EXPECTATIONS, OUR MUTUAL FRIEND, and THE MYSTERY OF EDWIN DROOD. That's about 4,000 pages – in Penguin editions, please! Get a head start on your reading over vacation. Cliff's Notes are guaranteed to be utterly useless, so give your money to a worthwhile charity instead of wasting it on such offensive junk. At least three short papers, daily scribbles, and a final exam. (If you write six short papers, you are excused from the final exam.) Optional evening discussion meetings at my home on Wednesdays. [Cost:2] [WL:1] (Hornback)
483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.
SECTION 001. REFLECTIONS ON THE REVOLUTION IN FRANCE. This course proposes a study, on the 200th anniversary of publication, of Edmund Burke's REFLECTIONS ON THE REVOLUTION IN FRANCE. The work will be examined in the context of the events in France occasioning Burke's writing and in the context of Burke's political and philosophical thought generally. Sources contemporary with the Revolution (including writers antagonistic to Burke such as Godwin and Paine) will be explored, together with an examination of the state of historiography of the Revolution today. The course will be conducted as a seminar; brief written reports and one extended paper will be done. No examinations. [Cost:1] [WL:3] (McNamara)
SECTION 002. APOCALYPSE THEN AND NOW. The central text of this course will be the Apocalypse – The Revelation of St. John. This great visionary text figures the last stages of history before the cataclysmic end, and represents a call to endure until the glorious vindication of the just in an order beyond time. The images generated in the Apocalypse recur insistently in Western literature and art, its passions configure political and religious attitudes, and its logic dominates much political discourse. We will read and discuss the text both in terms of its original context and its enormous influence on later literature and art. Course requirements will include one essay (6 pp.) and one examination. [Cost:2] [WL:1] (Williams)
486. History of Criticism. (3). (Excl).
This will be an introductory survey of major developments in literary theory during the past two centuries, with particular emphasis on the sweeping changes that have taken place in the past twenty-five years. Major areas of study will include Romanticism, Modernism, New Criticism, Structuralism, and Post-structuralism, Marxism, and Feminism. Throughout the course we will be using various branches of literary theory to help us answer basic questions about what and why we read, questions like: What is a literary text? Who or what is an author? In what ways are texts embedded in society and politics? What is the proper relationship between literature and criticism/interpretation? Is there a difference between literature and propaganda? Are male readers/writers different from female readers/writers? On what principles was our literary canon established, and should it be revised? Should criticism have a social agenda? Mix of lecture/discussion, but with a strong emphasis on student participation. Four short papers, and a final project. [Cost:4] [WL:1] (Kucich)
493. Honors Survey: Nineteenth Century English Poetry. Admission to the English Honors Program. (3). (Excl).
This course surveys British writing from the 1790s to the 1830s with an emphasis on the poetry and the literary/cultural criticism of the canonical romantics: Blake, Coleridge, and Wordsworth in the "first generation"; Keats, Shelley, and Byron in the "second." We will also read poems by women who have recently been reintroduced into the literary history of the period: Helen Maria Williams, Felicia Hemans, and others, along with one novel each by Jane Austen and Mary Shelley. Whenever possible, the syllabus will include the reviews, letters, and essays that convey a sense of the controversial or revisionary aspect of this material in its own time. The course is part of the Departmental Honors sequence and normally open only to those enrolled in that program. Attendance required. Discussion format. Written work will consist mainly of a short paper, a class presentation accompanied by a critical bibliography, and a longer paper. [Cost:2] [WL: Honors class; limited to Honors Seniors in the English Department.] (Ellison)
494. Honors Survey: Nineteenth Century English Fiction. Admission to the English Honors Program. (3). (Excl).
This course will trace developments in literary culture from the later romantics (Tennyson, Browning, Whitman) to the moderns (Yeats, Joyce, Eliot). It will attempt to accommodate both close reading of some major texts and inquiry into the various ways in which the works of these writers are interconnected. It will be impossible to cover "enough" in class, so students will be encouraged to develop papers on material that may be assigned but not discussed. Requirements will probably include a midterm and a final examination, two short papers and a longer one. Although much of our time will be spent with the poets, Dickens' LITTLE DORRIT will be considered early in the course and might be profitably read over the summer. [Cost:4] (Schulze)
496. Honors Survey: Thesis and Comprehensive Examination. Admission to the English Honors Program. (3). (Excl).
SECTION 001. This course is restricted to students in the English Department's Honors Program and Alternate Honors Program. English 496 is used for the combination of thesis and comprehensive exam in Honors and for the thesis in Alternate Honors. (Gindin)
SECTION 002. This course is to be elected by students writing a thesis in the Alternate Honors Program this term. (Creeth)
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