Courses in English (Division 361)

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).

PROFESSIONAL SEMESTER:

The English Department's Professional Semester is an experimental, integrated, team-taught program, designed for students who are committed to teaching English in the secondary schools or who wish to explore that possibility. This program, which will carry 12 hours of credit, along with English 305 to be taken concurrently for 3 hours of credit, will normally constitute the student's entire course load for one term, and will meet the following requirements in the Teaching Certificate Program (students who have already accumulated some of these credits are welcome to negotiate):

English 490-001. Reading, Writing and Criticism in the Teaching of English. (7 credits). (This is the equivalent of English 325 plus English 417. Concurrent election of English 491/Education D491 and English 305 is required.)

English 491/Education D491. Teaching English-Methods and Practicum. (5 credits). (This is the equivalent of Education D440 and Education 307. Concurrent election of English 490 and English 305 is required.)

The Professional Semester is not taught as a collection of separate courses, but rather as a coherent program with flexible scheduling arrangements and opportunities for large and small group projects and discussions, guest consultants and lecturers, and student planning of many segments or aspects of the program. As a hypothetical example, one might focus on the question of audience, taking up criticism on how literature reaches its audience and including poetry, a Shakespeare play, a modern novel, a film, to explore how the different genres affect an audience. In the same unit students might also examine the communications potential of language in a number of contexts and write brief papers addressed to various audiences. Discussion and observation of different local secondary schools will be arranged under Education D491 on a concentrated basis for a portion of the term.

The Professional Semester can accommodate up to 25 students and meets MW 11-12, Th 10-12, and MWTh 2-4, with the practicum to be arranged. Students should keep MW 4-5 open for tutoring under Ed D491. Registration requires overrides, available in the English Department Office in 7607 Haven Hall or from the instructor for the program.

Students interested in participating in this program can get more information from the instructor: Alan Howes, 763-2269 (office), 662-9895 (home). He can also put you in touch with students who have participated in the program and who will be happy to tell you what it was like. A brochure with a general description of the teaching certificate program in English is available in the English Department Office.

WRITING COURSES:

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:

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.

124. College Writing: Writing and Literature. ECB writing assessment. (4). (Introductory Composition).

By connecting the two terms of its title, Writing and Literature aims to help prepare the student to produce the range and quality of expository prose expected in college courses. Works of literature will be considered for their effective use of language and argument. They will serve as reference points for thinking and writing strategies. Characteristically, sections of English 124 will involve the writing of a minimum of six essays, with considerable attention given to the preparation of drafts and to revision. The literary works which will serve as points of reference will vary from section to section and from term to term. Course descriptions for individual sections will be available after March 25 in 224 Angell Hall.

125. College Writing. ECB writing assessment. (4). (Introductory Composition).

Like English 124 (Writing and Literature), English 125 (College Writing) prepares students for the various kinds of academic writing required of them as undergraduates at the University of Michigan. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers exemplifying the various modes of discourse which comprise our academic community.

Individual course descriptions will be available for reference in 224 Angell Hall after March 25. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.

CSP sections available. See Comprehensive Studies Program (CSP) section in this guide.

217. Sophomore Seminar. English 124 or 125, or permission of instructor. (3). (HU).

This exciting range of new courses will give the student the opportunity to focus early in the College career on a sharply defined topic or body of literary works, and to do so in a seminar format, with much emphasis on discussion and writing. Students will characteristically be given the opportunity to shape a class presentation and to have their research or analysis be the focus of some seminar discussion. Whatever the topic of the seminar, students will be introduced to large questions of how one interprets and values the works one investigates, of the relation between those works and the cultural order of which they are a part, and of the function(s) of criticism at the present time. Sophomore Seminars will be limited to approximately 20 students, and will serve to fulfill the College's Humanities Distribution requirement.

SECTION 001. NOVELS OF INITIATION. In novels of Initiation characters encounter fundamental experiences in the process of moving toward adulthood. The tentative selections subject to change include Thomas Berger, LITTLE BIG MAN; H.D., HERMIONE; Theodore Dreiser, SISTER CARRIE; Ralph Ellison, INVISIBLE MAN; William Faulkner, THE REIVERS, Jayne Anne Phillips, MACHINE DREAMS; J.D. Salinger, THE CATCHER IN THE RYE; and Alice Walker, THE COLOR PURPLE. Work will include two papers, a midterm, and a final. Most of the class work will be done through discussion. The grading will take into account the norm (mechanics and style) as well as the contents of the papers. Participation in discussion, like regular attendance, will also figure in the grading. Short quizzes will be added if necessary to insure keeping up with the reading. Cost:2 WL:1 (Blotner)

SECTION 002. READING SHAKESPEARE'S TRAGEDIES: This seminar will focus on the shape and concept of tragedy as it is configured by Shakespeare in his plays. Discussions will be based on a close reading of the texts with an emphasis on how the plays might work on the stage. What relationships can we establish between text and "performance" text? How do the plays in performance effect our "reading" of works like Hamlet, Othello, King Lear, and Macbeth? The class will make use of recordings and screenings of the plays, and compare these with readings of the texts in class. Cost:2 WL:1 (Brater)

SECTION 003 THE LITERATURE OF CRISIS: The course will examine a range of topics and themes pertaining to various crises that afflict the human animal, i.e., gender, conflict, war, environmental disaster, ethnic strife, personal psychological trauma, etc. Our focus will be on the ways in which resolution is achieved or missed in the works one studies. We will examine works of anthropology, fiction, drama, poetry and the social essay. Students will be assigned to write papers, lead class discussions and do specific research presentations. The text will be determined by what is timely and appropriate. Cost:2 WL:1 (OyamO)

SECTION 008. SOME WAYS OF LOOKING AT OURSELVES: Enrollment in Sophomore Seminars is limited to twenty students, a number small enough to make informed conversation not only possible but necessary. In this section we will read a half dozen or so contemporary novels (that is, novels written more or less within your lifetime). We will talk about the kinds of assumptions involved whenever we read anything at all, and then we will approach these novels from a variety of directions and try to make sense (or senses) of them. We will also write about them, or our experience of them, and we will share our writing with one another. No one should enroll in this section who is not prepared to read, to think, to talk, and to write, and to do all four with energy. That's what seminars are all about. Cost:2 WL:1 (Ingram)

SECTION 010. JAMES JOYCE: 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, nor do you need to be an English major, 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 an oral report, two papers (one short; one long), and some variation on a final exam. (Cost:2 WL:1) (Zwiep)

SECTION 011. LITERATURE OF THE LATE 18TH AND EARLY 19TH CENTURIES: SENTIMENTALISM, GOTHICISM, AND ROMANTICISM: In this course we will trace some of the recurrent social issues of this age of revolution, focusing particularly on the relationship of self and society as it is presented in the novel of sensibility, the gothic novel, and romantic poetry. We will examine the representation of individual bodies and social bodies, relating to concerns with incest, vampirism, ghostliness, and the body politic to specific social fears and desires. Readings will include Stine's A SENTIMENTAL JOURNEY, Austen's SENSE AND SENSIBILITY, De Quincy's CONFESSIONS OF AN ENGLISH OPIUM EATER, Contemporary historical and philosophical treatises, and selections from the poetry of Wordsworth, Coleridge, Keats, and Byron. Active class participation and several short papers with revisions will be required. Cost:2 WL:1 (Henderson)

220. Intensive Writing. Open to junior and senior 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 25.

225. Argumentative Writing. English 125 or 167 or equivalent. (4). (Excl).

This course will develop ways of exploring and defending positions ideas, and beliefs in writing. Attention will be paid to processes of reasoning, the testing of assumptions and claims, the questioning of beliefs, and the discovery of ideas and evidence through analysis and rigorous articulation in written discourse. The course will also focus on considerations of style, formal strategies or techniques, and revision as integral to precision in making points and developing argumentative ideas both for purposes of individual reflection as well as for the purpose of persuading an audience. Classes are usually run on a discussion/workshop basis, with students sharing drafts of papers and examining professional writing from periodicals or from a text book of collected essays.

All sections of English 225 will have course descriptions available for reference in 224 Angell Hall after March 25.

CSP section(s) available. See Comprehensive Studies Program (CSP) section in this Guide.

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 the English Department, 7611 Haven Hall, to sign up for an interview.

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. Descriptions of all sections will be available after March 25 in 224 Angell Hall.

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 Ulrich's. You should try to get CRIME AND PUNISHMENT read before the start of classes. 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 Tuesday night discussions at my home. For Honor students only. [Cost:2] [WL:1] (Hornback)

239. What is Literature? English 124 or 125, or permission of instructor. (3). (HU).

Prerequisite for concentrators in English. The objective of this course is to introduce students to the diversity of goals, chief terms, and practice of English studies. The approach is twofold: to familiarize students with ideas important to the tradition of English studies and to provide them with the critical skills necessary for flexible and pointed interpretation and evaluation of texts. This course will be of interest not only to those who are committed to English studies but to all who wish to understand the variety of strategies now available for the interpretation and appreciation of texts.

SECTION 001 We do many things with books: throw them, sell them, ban them, read them, print them, store them, write them, and more. Doing so we act simply and mysteriously. How do readers turn pulp and ink into "literature"? and how is it that literature moves us to joy, despair, boredom, or the delight of heightened attention? As we discover the possibilities of "interpretation," we will consider how prose and poetry attract us, what a character is and what a story does. Our class will explore books in relation to ourselves and the social world. We will look to the ways in which common elements of our lives can be read as "texts" and review the many ways in which famous books have been read. Throughout, I will introduce practical guides for the student - A HANDBOOK TO LITERATURE and A RESEARCH GUIDE FOR UNDERGRADUATE STUDENTS, for example as well as pose difficult questions. What makes a book good? How do we construct literary history? Why study literature at all? Classes will be run primarily as discussions. There will be two exams and several short writing assignments. Our goal will be to expand and better the vital ways we talk and write about books. Cost:2 WL:1 (Leon)

SECTION 002 WHAT IS THE STUDY OF "LITERATURE" FOR? This course explores some fundamental questions about the meaning and significance of the study of written and oral "literature." In addition to examining the historical development of literary studies itself, we'll explore some of the varying conceptions of and attitudes toward literature in different periods and cultures. We'll explore some basic theories and methods that are used to think about and write about literature both by reading accessible theoretical texts and by writing about a variety of literary-critical forms from different periods and cultures. By examining how literary and critical forms and practices shape and are shaped by changes in technology (such as the invention of print and TV), in socio-political institutions (such as the university), in economic structures, and in cultural customs and beliefs, we'll analyze what our own current literary- critical practices reveal about American cultural habits. Discussion format. Brief weekly writing assignments, occasional oral presentations, a journal, and a term essay- project. Cost:3 WL:1 (Ross)

SECTION 003 This class is designed to stimulate your thought about issues that should prove central to all your subsequent engagements with literature, inside and outside the classroom. It is my hope that nothing will go unquestioned in this course, including the nature of literary study and the changing meanings of "literature" itself. We will study character and plot in novels, short stories and poetry, for example, but we will also work to uncover what we mean when we use terms like "character" and "plot" and to understand the criteria by which we place texts into categories like "novel" or "poem." We will spend some time talking about the social and historical forces that shape a culture's ideas of what constitutes literature; we will also examine how these forces affect a culture's estimation of a text's value. Our discussions, often theoretical in nature, will always revolve around particular texts: We will read essays and selected poems from a Course Pack as well as texts by Woolf, Joyce, Stein, Douglass, Hawthorne, and Hurston, among others. Course requirements will include a class presentation, two short papers (2 pp.), two slightly longer papers (5 pp.) and a final essay (10 pp.). Participation in discussions is required; attendance is mandatory. Cost:2 WL:1 (Whittier-Ferguson)

SECTION 004. LITERARY RELATIONSHIPS: To address the question of "What is Literature," this section will focus on the dynamics of literary relationships. We will talk about relationships between reader and writer, considering how the narrative voice of a text speaks to us, shaping our responses; how we, as readers, also push against that narrative voice, composing our own sense of what a text means; and how matters of gender, of race, of belief cause us to read the same texts differently. Concurrently, we will explore the relationship between a particular text and its context its historical period, its literary tradition, its author's biography asking what that relationship contributes to the text's meaning. To keep us centered as we weave all these perspectives together, the chosen readings will be ones that treat a common theme: the theme of "becoming." This shared concern will allow us to see the wonderfully diverse ways that writers create versions of stories about young people becoming adult, being initiated into the complexities and ambiguities of a larger world, attempting to sort out good from evil, the imaginary from the real. We'll read fiction about "becoming" by authors such as Hemingway, Toni Morrison, Hawthorne, Chopin, John Fowles, Isabel Allende, Dickens, Austen, Doctorow, Adele Wiseman, and Rosellen Brown; poetry by William Blake and Emily Dickinson; and perhaps a play by Shakespeare. Finally, our reason for questioning "What is Literature" is to enable your "becoming" more savvy readers of literary texts. Class requirements include two papers (5-7 pages), brief weekly written responses to the readings, a final exam, regular attendance, and active participation in class discussions. (Wolk)

SECTION 005 This course will provide an introduction to literary studies, focusing on questions of interpretive theory, literary influence and revision, canon formation, the construction of genres and historical periods, and the relationship between literature and culture. Texts will probably include Conrad's HEART OF DARKNESS, Brontë's JANE EYRE, Rhys' WIDE SARGASSO SEA, James' THE TURN OF THE SCREW, and Jacob's INCIDENTS IN THE LIFE OF A SLAVE GIRL. In addition we will read critical and theoretical works that situate these texts in relation to different interpretive strategies and issues. Requirements will include a number of informal writings, two essays and a final exam. Cost:2 WL:1 (Vrettos)

SECTION 006 This course is meant to introduce students to English study and to aid in the development of interpretive strategies. The course will be divided roughly into three sections. The first will be structured around a series of questions such as: What is literature, and how is it defined in relation to the "non-literary'? What is an author, a character, a reader, and their possible relations? In the second section, we will do an abbreviated "case study" of 19th-century American literature, asking questions about the constitution of literary periods, canons, and traditions, as well as questions about the social contexts which give meaning to these categories. The third section of the course will be devoted to the study of more widely cultural texts, with the aim of empowering students to read the world with the tools made available by literary study. Reading for the course will include classic and not-so-classic literary texts, popular cultural texts, essays dealing with interpretation, and essays which model a variety of interpretive strategies. Requirements: attendance, participation, one group project, two 5-page papers, and a final take-home exam. (Robinson)

SECTION 008 This course (a prerequisite for English concentrators) is designed to introduce students to critical issues concerning the nature of literary studies. By examining literary, critical and theoretical works, students in the class will discuss, among other issues, how we define literature and the study of it; what constitutes a genre; how readers relate to texts; and what characteristically limits the selection of works in literary studies. In the beginning of the course we will scrutinize these issues in relation to the idea of revising the canon, starting with Shakespeare's THE TEMPEST and then examining its reworking in A TEMPEST, a version of the play written by the Caribbean writer, Aime Cesaire. We will also study critical responses to these works as a form of revision. Other works will include Roland Barthes' MYTHOLOGIES, Oliver Sack's THE MAN WHO MISTOOK HIS WIFE FOR A HAT and Harriet Jacob's INCIDENTS IN THE LIFE OF A SLAVE GIRL. Students will be required to complete several response papers, two essays and an exam and must participate actively in class discussion. Cost:2 WL:1 (Flint)

SECTION 011: This course will explore ideas about what constitutes "literature" and also ideas about its production. That is, how has a literary work been shaped by specific cultural and racial contexts? How has issues of history, class, and gender shaped our vision of what is literature? We also will consider the politics of "literary" language. For example, what language is "appropriate" for literature? Why do some writers use Standard American English, while others use Black English or Pidgin English? As readers we will be examining our own act of reading, and we will trace the effects of the Academy on literary studies, including a consideration of what is a literary "canon" and why there are current debates raging over cultural v. multicultural literacy, elite v. popular literature, works of "literary merit" v. "new" traditions. Reading material will be drawn from American literatures, from traditional and non-traditional genres. Requirements: regular attendance, class participation and three short essays (5-6 pp. each). (Gunning)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

SECTION 001. HONORS: This course is intended for any Honors student wishing to increase his or her enjoyment and understanding of poetry. Through a wide range of poems we will explore both the ways in which poems work and the ways in which we can understand and improve our responses to them. After an introduction to poetic analysis we will progress chronologically from Shakespeare to the present, emphasizing particularly the diversity of the last two centuries and ending with in-depth study of one major modern poet (W.B. Yeats). Class discussion and occasional informal lectures will focus primarily on close reading of individual texts, but students should also emerge from the course with some grasp of the historical development of poetry in English. Frequent short papers, the last of which will serve as a final exam; no prerequisites. The text will be "The Norton Anthology of Poetry," Third Edition. Cost:2 WL:1 (Bornstein)

SECTION 002. We'll read a wide variety of poems drawn from the last four centuries; our aim will be both understanding and enjoyment. At first we'll develop a battery of questions likely to be fruitful in close reading. Later we'll apply those questions to poems short and long, simple and complex, as we seek to discover in each case the best avenue to interpretation. From time to time we'll try to view matters from the poet's perspective by composing verse in various forms. For the last 2-3 weeks we'll focus on the works of a single major poet. Written work: journals, frequent short papers, one longer paper, a midterm, a final exam. Cost:1 WL:1 (English)

SECTION 003. This course will survey poetry from Shakespeare to Spacks, with a good deal of the term devoted to modern and contemporary poetry. We will be reading poetry by authors from a wide range of backgrounds and perspectives, discussing the ways in which poetry differs from "ordinary" language, what it can do for the man or woman who creates it (and what difference gender makes in the creative process), and what poetry has to offer us as readers now. This will be mainly a discussion rather than a lecture course, so participation and occasional presentations will be expected. Beyond this, a journal of your readings, a midterm, a final and two essays will comprise the written requirements. WL:1 (Barnes)

SECTION 004. 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 a single poet. Throughout the course, emphasis falls on close reading of and analytical writing about poetry. Three papers and two exams. Texts are the Norton Anthology of Poetry and M.H. Abram's Glossary of Literary Terms, and a small course pack at Liberty St. Kinko's. (Cost:2) (WL:1) (Krook)

SECTION 005. This course attempts to develop your ability to perceive poetic forms and techniques, familiarize you with some basic poetic traditions, and give you a critical vocabulary with which to write about poetry. We'll begin by discussing techniques, structures and genres in diverse poems, and end by discussing an entire book (Elizabeth Bishop's GEOGRAPHY THREE). Required work consists of two papers, one in class midterm, a final, and non-graded, hopefully enjoyable in-class exercises. Required texts: THE NORTON ANTHOLOGY OF POETRY, SHAKESPEARE'S SONNETS, and Bishop's GEOGRAPHY THREE. (Tereda)

SECTION 007. This course, a prerequisite for concentrators in English, is an introduction to English and American poetry. In this section, students will read a wide variety of poems drawn from 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 008 The subject of this course is the beauty of poetry - how to perceive it, how to take joy and understanding from it. We will read together poems written mostly in this century, poems I have chosen because they please me and because I think they will please you. You will write briefly to open each class meeting 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 discussion in some of our classes by working poets in the University. In addition to daily writing, this class requires a midterm paper and a final paper. It has no examinations. Cost:2 WL:1 (Fader)

SECTION 009 The aim here will be to enhance students' enjoyment of poetry through an understanding of its nature and how it achieves its particular effects. What is poetic language, for example, what is function of meter how does it interplay with the natural rhythms of speech? What is the nature and meaning of metaphor and of other kinds of figurative language? How does a poem mean one thing by saying another (irony)? The emphasis will be on informed, close reading of literature. To encourage a feeling for the oral nature of poetry, students will occasionally be asked to learn and say poems aloud. Several short papers and one long paper will be required, as well as a midterm and a final exam. (Tillinghast)

SECTION 010. 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 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 011: In this course we shall study closely a variety of poems written in English from about 1600 to the present, with an occasional glimpse at poems in translation. The task of the course is a pleasurable and progressive understanding of how poems work, that is, what techniques poets use to articulate their visions of experience. We shall pay close attention to the language, forms, figures, and themes of verse, and to literary-historical conditions that influence poetic craft. The textbook Western Wind, by John Frederick Nims, will be our chief reading, in addition to a general anthology. The course will conclude with a discussion of one poet's career, perhaps Robert Frost or Elizabeth Bishop. Because this is a discussion class, regular attendance and participation are required. Other requirements include a series of short papers, supplemented by exercises, a midterm and a final examination. Cost:2 WL:1 (Goldstein)

SECTION 012: This course will provide an introduction to poetry, emphasizing the association of form and content and their link to the historical context in which poems were originally written. We will examine the ways various poetic forms reflect assumptions about the function of poetry for its audience, the role and status of the poet, and the relation of poetry to the marketplace and to people of different social classes. Our poets will range from Shakespeare to Christina Rossetti to Seamus Heaney. The course will, for the most part, be organized chronologically, but we will on occasion trace certain themes, techniques, and forms as they appear in a cluster of poems of different periods. We will also use other cultural artifacts to illuminate the workings of the poems of particular eras. The class will discuss, for instance, the common features of Renaissance poems and paintings that praise Queen Elizabeth, and the relationship between twentieth-century impressionism and the poetry of Wallace Stevens. Course Requirements include active class participation and several short papers. (Henderson)

245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

See Theatre and Drama 211. (Ferran)

270. Introduction to American Literature. (3). (HU).

SECTION 001 RACE, ETHNICITY AND NATIONAL CHARACTER: Ideas about self and otherness, in-group and out-group, race and ethnicity, change continually both from a relative and chronological perspective. This introduction, therefore, will introduce the student to both "classic" and "rediscovered" American writers; however powerful the myth of a monolithic nation, it behooves us to recall that the "Founding Fathers" were as much immigrants as the marielitos. (Some of the authors who may be included are Ben Franklin, Harriet Beecher Stowe, James Weldon Johnson, and Leslie Marmon Silko.) Along with the primary works, students will be expected to read a number of theoretical essays selected from different sources, anthropology and sociology chief among them. Technical notes: This course will focus on Anglophone United States literature representing authors from a range of racial and/or ethnic groups covering a span of roughly two hundred years. At least two papers and two exams are likely. (Zafar)

274. Introduction to Afro-American Literature. English 124 or 125 or permission of instructor. (3). (Excl).

SECTION 001 This course will survey poetry, narratives - fictive and autobiographical prose essays, and drama produced by Afro-American writers in the 19th and 20th centuries. We will be attempting to develop answers to several questions suggested by this body of work, including, if an Afro-American literary tradition exists, how we might define it; how successful this body of texts has been in resolving the tension between its aspirations to be both art and weapon in the struggle against slavery and other forms of racial oppression; to what extent categories of difference within Afro-America including class, gender, historical situation, and region have determined the perceptions of Black life that these writers offer; and what variety of views of America - a democratic site whose promises have historically been denied to Blacks is expressed by these writers. Course requirements: three 4-6 page essays; a midterm examination; and frequent quizzes. (Awkward)

285. Introduction to Twentieth-Century Literature. (3). (HU).

SECTION 001. Twentieth-century literature is so diverse and multifaceted that no single course can hope even to begin to encompass it. Therefore, while selecting readings that will exemplify the stylistic and technical features unique to twentieth-century literature, I want to focus the course on two subjects: the changing treatment of women in literature and the responses to totalitarianism. The readings, mostly novels, will include Chopin's THE AWAKENING, Dreiser's SISTER CARRIE, Hemingway's THE SUN ALSO RISES, Lawrence's LADY CHATTERLY'S LOVER, Jong's THE FEAR OF FLYING, Atwood's THE HANDMAID'S TALE, Conrad's HEART OF DARKNESS, Kafka's THE TRIAL, Huxley's BRAVE NEW WORLD, Koestler's DARKNESS AT NOON and Heller's CATCH 22. There will be a midterm and a final exam and probably two five-page papers. Cost:2 WL:1 (Beauchamp)

Primarily for Juniors and Seniors

302. Writing About Good Books. (4). (Excl).

The work in this course consists of reading four books and writing four papers, each paper in two drafts. Two of the books are novels: The Diaries of Jane Somers by Doris Lessing and Their Eyes Were Watching God by Zora Neale Hurston. The third book is a literary essay, "A Room of One's Own" by Virginia Woolf. The fourth book will have a scientific focus. Word processing and participation in a course computer conference are required. Students are encouraged to write in a voice that is natural to them. They are urged to explore the advantages of simplicity and directness. Class time is divided fairly equally between discussions of substantive issues in the books and discussions of problems in writing. This course fulfills the Junior/Senior writing requirement. (Meisler)

305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).

This course surveys the forms and functions of contemporary English. We will consider some of the major dimensions of English structure (orthography, phonetics, intonation, word formation, syntax, etc.) and how these structures characterize both English speakers and their linguistic purposes. During the term, we will explore the social and geographical dialects of Modern English (e.g., British vs. American English and Black English Vernacular), its professional jargons (e.g., the language of advertising, religion, law, and politics), and its situational varieties (e.g., the language of conversation, oral narrative, and literature) and will affect our actions and attitudes (e.g., our notions of 'good' English vs. 'bad'). Requirements for the course will include a language journal, a midterm, a final exam, and a project investigating some aspect of Modern English structure or use. Cost:2 WL:1 (Cureton)

310. Discourse and Society. English 124 or 125, or permission of instructor. (3). (Excl).

SECTION 001. THE DEWEY CENTER PROJECT. This version of English 310 teaches students how to use their creative skills and social commitments to facilitate the powerful expressiveness of school children. It is rooted in respect for the children's abilities and voices, in excitement about an educational process that promotes creativity, and in imaginative collaboration with the school faculty and administration. We work in harmony with school policies and attempt through our work to implement school goals. The small number of students admitted to this course work an average of two to two and one-half hours a week at a Detroit school, where they assist primary and middle school children in creating their own video tapes and plays. An additional two hours is spent in class meeting, where we discuss background reading and analyse and develop our work with the children. We also plan and participate in one or two excursions by the children to Ann Arbor or other sites in Detroit. Methods of student evaluation will be decided by members of the class. Admission to the class is by permission of instructor. Check 1631 Haven for specially posted hours for interviews for this course. Cost: 3 (Alexander)

314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.

SECTION 001. MEDIEVAL ENGLISH ROMANCES: The romance was a French invention of the twelfth century. Fusing stories of adventure and that kind of love we now call romantic, it quickly became popular all over Europe, representing and analyzing a new kind of ideal life. The greatest English examples of the type were written some two hundred years later and are, variously ironic, variations on romance themes. In this course our primary focus will be on three of these works: Chaucer's Troilus and Criseyde, "Sir Gawain and the Green Knight," and Malory's Morte D'Arthur. We will also read a number of other works, such as the Lancelot of Chrétien de Troyes, the Romance of the Rose, and perhaps some Arthurian texts, both as independent works and as context for the English romances. This will be a discussion course. There will be a final exam at the scheduled time, one hour exam, and either a paper or a second hour exam. There will also be occasional in class written exercises. The grade will be an average of the exams and paper. Cost:2 WL:1 Satisfies the Pre-1600 requirement for English concentrators. (Lenaghan)

315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.

SECTION 002 In this course, which possibly could be subtitled "a sense of humor certainly doesn't hurt," participants will engage in a dialectic regarding what constitutes the woman's life in a society determined to be ideologically democratic and egalitarian. Beginning with early-19th Century theorists and observers and continuing up into our time, the readings will examine the literary style and attitudes of women writers from multi-ethnic backgrounds and explore through prose, poetry, film, and fiction their unsentimental treatment of tough moral issues. Both "art" and the represented "life" will be our concern. Discussion based, close reading and consistent attendance are imperative to facilitate the exchange of ideas and will be expected. Texts include several novels, a play, and a course pack of shorter works (Churchill, Didion, Freeman, Gilligan, Gordimer, Kingston, Marshall, Munro, Porter, Slessinger, Walker and others). Brief in-class writings; two papers; final exam to be determined. Satisfies the New Traditions req. for English concentrators. Cost:2 WL:1 (DePree)

SECTION 003. WOMEN IN CONTEMPORARY THEATER: The course will explore the participation of women in theater in the U.S. and Europe since the 1950's as playwrights, producers, directors, and actors. We will study texts and performance documentation, seeking to discover how women construct production such as staging, setting, costuming, and casting. Frequent informal staging of scenes will aid our study of performance. We will read about a dozen plays including Churchill's CLOUD NINE, Benmussa's THE SECRET LIFE OF ALBERT NOBBS, Shange's FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF, and Norman's 'NIGHT MOTHER. Reading will also include essays and criticism from theater journals (The Drama Review and Women and Performance), the feminist theater literature, and the popular press. Students will write two papers and perform in or assist with in-class performance projects. Satisfies the New Traditions req. for English concentrators. WL:1 (Cohen)

317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.

SECTION 001. YIDDISH LITERATURE IN AMERICA: This course will encourage students to explore some of the questions raised by immigrant texts. Reading poetry and fiction written during the past century by Jews in the United States who continued to use their native language, we will consider the problems posed by acculturation and, in the broadest sense, translation. How do Yiddish writers respond to the confrontation of American and Eastern European myths once they have first-hand experience of both? What effects do the English language and American culture have on their texts? What is the relationship between Yiddish writers in America and the dispersed, international community of Yiddish speakers? What does it mean to call this literature "American," or "Jewish," or "immigrant?" No knowledge of Yiddish is required for this course; all texts will be read in English translation. Requirements for the course include regular attendance, participation, and the punctual completion of all reading assignments. There will be a number of brief (1 page) ungraded in-class writing assignments based on our readings. Grades will be determined by these assignments, two essays (4-6 pages each), and an exam. Satisfies the American Lit. and the New Traditions req. for English concentrators. (Norich)

SECTION 002. LITERATURE OF THE AMERICAN WILDERNESS: SECTION 002. LITERATURE OF THE AMERICAN WILDERNESS: A Collegiate Fellows section; see the front section 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 wilde 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 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 and from Parkman's The Oregon Trail, 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 ten pages, and to take a final examination. Anyone with an interest in the literature and the issues it raises is welcome. Satisifies the American Lit. req. for English majors. Cost:2 WL:1 (Knott)

SECTION 003. LITERATURE OF AFRICA AND OF AFRICANS IN THE AMERICAS: This course will compare modern African literatures with their counterparts in Afro-Brazilian, Afroamerican, Afro-Caribbean, and Afro-Hispanic literatures. Our "African writers of the Americas" authors will include Aime Cesaire (Martinique); Alice Walker and Toni Morrison (USA); Derek Walcott and Orlando Patterson (Caribbean: St. Lucia and Jamaica). At least two so-called "slave narratives" by Olaudah Equiano (Afro-English) and Esteban Montejo (Afro-Hispanic) will provide a linkage to African writers who then will range from Ethiopia's Gabre-Medhin to Mali's Kouyate, Egypt's Nawal el Saadawi, and Senegal's Mariama Ba. We will try to provoke and to answer a variety of questions during the term. The issues will involve, I hope, assessments of the nature of art and imagination; the roles of power in literary production and consumption, and of ancestry, citizenship, and identity. Note: We should also try to assess familiar approaches to comparative studies, e.g., Euro-american (Henry James) and British cultures; Euro-american poetry (e.g., T.S. Eliot) and the French Symbolist movement; Western intellectual history; etc. Class will be lecture and discussion, based on commitment and participation. There will be at least two short papers and a final comparative essay. Satisfies the New Traditions req. for concentrators. Cost:2 WL:2 (Johnson)

SECTION 004. LITERATURE AND CULTURE OF IRELAND: This course proposes an introductory study of the literature of Ireland from earliest times to the present. This means that we select for reading from among ancient saga, medieval and modern poetry, modern prose fiction and modern drama. We shall draw from both Gaelic literature (in translation) and Anglo-Irish literature. The course has no prerequisite and does not presume prior acquaintance with the subject, nor with Irish history, though students with some knowledge of Ireland and its history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. There will be brief quizzes and one hour exam. Two papers will be written, and a final examination. This course fulfills the New Traditions requirement for English concentrators. Cost:3 WL:1 (McNamara)

SECTION 005. CONTINUANCE OF CULTURES IN ASIAN PACIFIC AMERICAN LITERATURE: Few places in American literature present so singular and simplistic an image to the world as Hawaii so simplistic that the reminder that Hawaii is a state and that it has a literature may be a nearly universal surprise. Section 5 of English 317, Fall Term 1991, is a study of Asian/Pacific American Literature, mainly of Hawaii, with the aim of examining how colonialism and other political, economic, interracial, and historical forces have shaped complex cultures in Hawaii and yet fashioned a facile image to the rest of the world. The study includes writers of Hawaii in three traditions: the native Hawaiian, the colonial (and its offspring, the tourist), and the "local," polyethnic culture of Hawaii today. It also includes selected works and excerpts of Asian American literature of the American continents, relevant (by similarity, by contrast, and by history) to the study of the Asian Americans who together constitute the major part of the population of Hawaii. Among the authors are the familiar for instance, Melville and Twain, both of whom wrote novels set in Hawaii, though it is Melville's TYPEE and Twain's ROUGHING IT that are assigned. With them are rather less familiar, resident authors of different ethnicities: Samuel Kamakau, O.A. Bushnell, Shelley Ota, Aldyth Morris, Milton Murayama, John Dominis Holt, Cathy Song, and Song's fellow writers in the group of "local" writers called Bamboo Ridge. The course is based in the study of literature by multidisciplinary methods with an emphasis on historical constructs, how they are erected, why, and what they go on to effect. The course ends with reflections on the case of Hawaii's multiculturalism as a possible paradigm or maybe a warning for the cultural and racial plurality that the rest of America is becoming. There are good chances that the course will be full of fun as well as the danger of an unpredictably challenging subject, lurking behind the smiling face of Hawaii. Two papers of 3 to 5 pages each, one of 7 to 10 pages; regular quizzes; no exams. Satisifes the American Lit. and the New Traditions req. for English majors. Cost:4 WL:1 (Sumida)

SECTION 006. EXPERIENCE AND EXPRESSION: PRISON AND DRUG CULTURES: We will be looking at poems, testimonies, narratives, drawings, films, and investigations from both inside and outside prison and probably crack cocaine cultures. The goal of the course is to respond to those works both as artistic and, more broadly, as social communications. In order to achieve this goal, we shall not only study the texts themselves, but enter into contact with the producers of those works and some part of the context, as well as with others who share their experiences. Each student will have a placement in a prison, drug rehab center, halfway house, crisis center, etc., and will work with people from those two cultures, who will also participate in classroom meetings. The class will be limited to 20 students, and grading procedures will be decided by students and instructor. See instructor for permission to enter the course: 1631 Haven Hall, Tuesday 4:15-6, plus posted extra hourse during preregistration. Cost:2 WL:course is permission of instructor; no waitlist. (Alexander)

318. Literary Types. (3). (HU). May be repeated for credit with department permission.

SECTION 001. FANTASY: This course will explore the nature and uses of fantastic narratives from the beginning of the nineteenth century to the present, drawing texts from such widely different fields as fairy tales, science fiction, and the so-called New Novel. No special background in literature is required. The written work for the course will proceed on a contract-like basis involving weekly short papers, an optional longer paper, and two or three examinations. Texts include: HOUSEHOLD STORIES OF THE BROTHERS GRIMM (1812-1815), Dover; TALES OF E. T. A. HOFFMANN (1809-1822), U of Chicago Press, ppr; THE PORTABLE POE, (1835-1849), Viking, selections only; THE ANNOTATED ALICE, (1865-1872), Lewis Carroll, NAL, ppr; THE ISLAND OF DR. MOREAU (1896), Signet, ppr. and BEST SCIENCE FICTIONS STORIES, Dover, ppr. H. G. Wells; THE COMPLETE STORIES, Franz Kafka (1915), Schocken, ppr; ORLANDO, Virginia Woolf (1928), Harcourt Brace; THE ERASERS, Alain Robbe-Grillet (1953), Grove; THE TOLKIEN READER, (1949-1964), Ballantine, selections only; THE PHANTOM TOLLBOOTH, Norton Juster (1961), Random House, ppr; COSMICOMICS, Italo Calvino (1965), Harbrace; THE DEAD FATHER, Donald Barthelme (1975), Penguin, ppr; WOMAN ON THE EDGE OF TIME, Marge Piercy (1976), Fawcett, ppr. Cost:4 WL:1 (Rabkin)

319. Literature and Social Change. (3). (HU). May be repeated for credit with department permission.

SECTION 002. ASIA AND THE WEST: The societies of Asia, with their intriguing blend of ancient tradition and state-of-the art technology, express them- selves through writing that reflects implications of change. What makes Asia think, pray, fight, laugh, weep, buy? sell, philophize, modernize? In the knowledge that Asia 's literatures, contemporary and traditional, open many doors to life and thought that otherwise remain permanently shut to Westerners, this course provides insights helpful to students interested in working professionally in areas in which 'Asia-literacy', a knowledge of Asia's manners and customs, is essential to success. Texts are drawn from Japan, China, India, Indonesia, Singapore/Malaysia, and Sri Lanka. The course focuses on the following topics: The Countries, the People, the Way of Life; The Life of the Mind (Text: R.K. Narayan, THE VENDOR OF SWEETS); North Asia and the West (Texts: Kazuo Ishiguro, AN ARTIST OF THE FLOATING WORLD or Catherine Lim, THE SERPENT'S TOOTH); European colonialism in Indonesia (Text: Pramoedya Ananta Toer, THE EARTH OF MANKIND); India and the British Raj (Texts: Ruth Prawer Jhabvala, HEAT AND DUST; Paul Scott, STAYING ON). Requirements: Requirements include careful reading of the texts beforehand, and readiness to discuss issues in class; two essays (8-10 pp); and a final examination. Background reading: THE MAHABHARATA; Lee Siegel, LAUGHING MATTERS). This course satisfies the New Traditions requirement. (Gooneratne)

323. Creative Writing. Junior standing and written permission of instructor. (3). (Excl). May be repeated for credit.

SECTION 001 POETRY: This section of English 323 will aim to help you write poetry through discussions of class members' poems, of published contemporary poets, of poetic motifs and techniques, and of the frustrating and illuminating experience of the writing process. Each class member will be expected to write approximately 200 lines of poetry over the course of the term, plus revisions, and prepare one in class presentation. Required text: J.D. McClatchey's Anthology of Contemporary Poetry. Interested students should apply for admission to the course by submitting five poems to the instructor at the English Department by August 22. A list of students admitted will be posted by September 3rd. (Terada)

SECTION 002. MEDIA 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 WL:3) (Wright)

SECTION 004. FICTION: 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 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 Waitlist at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. Cost:2 WL:1 (Ezekiel)

325. Essay Writing: The Art of Exposition. (4). (Excl).

This is an upper level composition course for students interested in improving their writing, with particular attention paid to the development of individual style expressed in the details of voice, tone, nuance, and rhythm. All classes will proceed on the assumption that these basic principles inform good writing: that writing is thinking; that writing well requires attention to issues of audience; that revision is a necessary part of the writing process; and that all writing reflects the writer's view of the world. Class discussion will include a consideration of student writing. To focus discussion and to provide subject matter for writing assignments, readings by professional writers will be assigned in most sections. Writing assignments will vary according to instructor, but the general requirement is forty pages of prose (300 words to a page). Course descriptions for individual sections will be available in 224 Angell Hall after March 25.

329. Practical English. (4). (Excl).

SECTION 001 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, descriptions, critiques, speeches, advertisements, 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 major 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. You must be present at both of the first two sessions to hold your CRISPed place. Texts: PRACTICAL ENGLISH HANDBOOK, Watkins/Dillingham (1989), and a small course pack. Cost:2 WL:1 (Crawford)

SECTION 002 This course is a Collegiate Fellows section; see the front section of the COURSE GUIDE for a complete list of Collegiate Fellows courses. In a workshop, students will cultivate written and spoken forms that have wide practical use in groups: letters, speeches, reports, essays, prospectuses, panel presentations, public drafts, working papers, and more. Much of this work will be collaborative. Although students will compose and revise individually, they will often create assignments, edit, and evaluate each other in groups. Through such activities, the workshop will reproduce a crucial feature of social and professional life: acts of writing and speaking typically occur in continuing chains of composition, evaluation, and revision leading to collective results: new ideas, new documents, new plans of action. Clearly, success in this course requires everyone's commitment to group effort and individual responsibility. Students will be expected to focus considerable time and energy on writing, editing, reading, and working together. No exams. Individual grades will be based on a minimum of two speeches, a minimum of twenty-five pages of finished prose (submitted for grade by each student from a total output of 50 to 60 pages), and class participation. No required text, but there will be photo duplication expenses. This course satisfies the ECB upper-level writing requirement. (Cost:1 WL:1) (Smith)

English 350, 351. Surveys of English Literature

This two-term sequence is designed to give students a principled sense of the range of literary works written in English; the first term will characteristically deal with works produced before the later seventeenth century to about Milton, that is; the second term will begin at about that point and proceed to the present. These courses will be open to English concentrators and to non-majors alike. The substantial writing involved with either of the courses will fulfill the ECB upper-level writing requirement.

350. Literature in English to 1660. English 239 and 240. (4). (Excl).

SECTION 001. This course is the first of a two-term sequence designed to study the development of literature in English. The course will focus on the reading and enjoyment of the dazzling variety of texts which made of the English tradition one of the major cultural streams in the West. At the same time we will explore the implications of these texts in and for political, social and cultural history more generally. Readings will range widely from Beowulf to Roxanna, perhaps even to Blake's America. Major time will be devoted to Chaucer, Marlowe, Spenser, Shakespeare, Donne, and Milton. The second term course will focus on material from Blake to Pynchon. The course features lecture three hours a week; groups of twenty-five students will meet a fourth hour under the leadership of advanced doctoral students to discuss further the material under study, and to work out their writing for the course. There will be three essays of approximately six pages each, a midterm and a final examination. Those students electing to fulfill the ECB upper-level writing requirement through this course will do special intensive work to develop their writing skills. This course satisfies the Pre-1600 requirement for English concentrators. WL:1 (Williams)

367. Shakespeare's Principal Plays. (3). (HU).

SECTION 001 In English 367 we shall read a representative sample of Shakespeare's best plays. "Representative" means attention to comedy, tragedy, history, and romance the kinds Shakespeare worked in. Here is a tentative syllabus: THE MERCHANT OF VENICE, MUCH ADO ABOUT NOTHING, 2 HENRY IV, AS YOU LIKE IT, OTHELLO, ALL'S WELL THAT ENDS WELL, MACBETH, and THE WINTER'S TALE. I don't have a particular method of approach, and I don't concentrate on special themes or topics. The idea is to go through the plays as intensively as possible, with an eye to getting pleasure from them. No special background is required. You don't need to be an English concentrator. I would not want to discourage anyone who cares about literature from taking the course. But a friendly word of caution: the material is demanding, and maybe you will find the approach demanding, too. If you don't mind extending yourself, this may be a good course for you, but not if grades are the end-all and be-all. Instruction will be by lecture/discussion. Assuming that the class turns out fairly large, it will be difficult to elicit informal discussion. I intend to try however, and will count on student collaboration. You can expect spot quotation quizzes on the plays, two short papers, a midterm and a final. You must take all the quizzes to be eligible for a passing grade in the course. The course will depend on an averaging (not strictly quantified) of your written work, plus an estimate of your performance in class. The texts will be the Signet paperback series, one volume to a play. This course satisfies the Pre-1830 req. for English concentrators. Cost:2 WL:1 (Fraser)

SECTION 008 An overview of Shakespeare's dramatic career, including comedies (A Midsummer Night's Dream, Twelfth Night), histories (Richard II, Henry IV, Part One), tragedies (Hamlet, Othello, King Lear), and plays that are difficult to classify (Measure for Measure, The Winter's Tale, The Tempest). Our interests will range from the poetic to the historical to the theatrical. Evaluation on the basis of both papers and examination. Students must register for a discussion section as well as for the lecture. This course satisfies the Pre-1830 req. for English concentrators. (Barkan)

English 370, 371, 372.

Studies in Literature in English. of these courses will range over the materials of the periods indicated below in one or more of a variety of possible ways. Some may be multi-generic surveys; some may focus on the development during the period(s) of specific genres; some may be topical, others formal in their principle of organization. All sections will emphasize the development of student skill in writing essays analyzing the materials and evaluating the approaches in question.

370. Studies in Medieval and Renaissance Literature. English 350 recommended. (4). (Excl). May be repeated for a total of 8 credits.

All sections of English 370 fulfill the ECB upper-level writing requirement. Please add the ECB modifier at CRISP. This course satisfies the Pre-1600 requirement for English concentrators.

SECTION 002 We will read a fairly wide variety of works written in the Middle Ages and Renaissance up to shortly after 1600. Three probable main lines of development: from heroic epic to epic romance (including such works as Beowulf, Malory's MORTE D'ARTHUR, Sidney's ARCADIA, and Spenser's FAERIE QUEENE); dramaturgy (miracle plays, EVERYMAN, THE SPANISH TRAGEDY, THE ALCHEMIST, THE DUCHESS OF MALFI); 16th-century lyric poetry (from Wyatt and Surrey to Sidney and Spenser). Written work: journals, short papers, a longer paper, a midterm exam, a final exam. (English)

SECTION 003. MEDIEVAL AND RENAISSANCE LITERATURE: In this course we will read a selection of major works composed in the Middle Ages and the Renaissance. We will begin with some Old English poetry, including BEOWULF, continue with Middle English literature, including works by Chaucer and the GAWAIN poet, and several medieval plays, and then move on to Shakespeare, completing the course with Milton's PARADISE LOST. There will be a midterm and a final term exam, and two papers. Cost:3 WL:1 (McSparran)

SECTION 005. FROM ELIZABETHAN TO JACOBEAN: PROSE, POETRY, AND DRAMA: This will be a course in the shift from Elizabethan to Jacobean sensibilities over the turn of the seventeenth century in English prose, poetry, and drama. In prose we'll read Sir Philip Sidney and Francis Bacon, in poetry Edmund Spenser and John Donne, in drama an Elizabethan and a Jacobean comedy by Shakespeare and a tragedy by John Webster. Shakespeare's HAMLET will be considered not from the usual approaches but in this context. Interruptable lectures, discussion, reports, the mix depending on the size of the class. Texts: individual paperbacks and perhaps a course pack. Some background of history, biography, science, and political theory especially of Machiavelli. Cost:2 WL:1 (Creeth)

371. Studies in Literature, 1600-1830. English 351 recommended. (4). (Excl). May be repeated for a total of 8 credits.

All sections of English 371 fulfill the ECB upper-level writing requirement. Please add the ECB modifier at CRISP. This course satisfies the Pre-1830 requirement for English concentrators.

SECTION 001. MILTON AND THE BIBLE: In this course, we will read a wide range of Milton's poetry and prose, paying close attention to historical, classical, and biblical influences on his work. We will pay especially close attention to his use and rewriting of the biblical antecedents for his subjects. No background in biblical studies is required. The number of papers and take-home essay exams will depend on the size of the class but will not total fewer than three 6-page assignments. Texts at Shaman Drum, a small course pack at the Liberty St. Kinko's. Cost:3 WL:1 (Krook)

SECTION 003. REVOLUTIONARY WRITING OF THE 1790S: This course explores the decade of the 1790s as a pivotal moment in British literary and cultural history, a moment poised between the possibility of revolution and the reality of reactionary politics. Just as the 1790s was a decade of revolutionary political activity, it was also a time of literary experimentation when writers attempted to burst old patterns of social behavior by forging new forms of writing. We'll examine how the intellectual and political trends of the eighteenth century (such as Enlightenment thinking, sexual libertinism, orientalism, religious enthusiasm, the cult of sentiment, the parliamentary reform movement, and commodity capitalism) converge in the writing of the 1790s, and how this volatile decade projects and gives way to some of the dominant trends of the following century (such as intensified class rivalry, nationalist imperialism, and reform in politics, education, and labor). We'll read a wide range of genres, including the radical political novel, the domestic novel, the gothic romance, the political tract, the philosophical inquiry, the radical dissenting sermon, the ballad, the nature poem, the scientific poem, the psychological tragedy, the travel letter, and the children's story. Writers include Burke, Paine, Wollstonecraft, Godwin, Richard Price, Joseph Priestley, H. M. Williams, Elizabeth Inchbald, Hannah More, Barbauld, Erasmus Darwin, Monk Lewis, Fanny Burney, Blake, Southey, Wordsworth, and Coleridge. Several short essays, occasional quizzes, weekly question assignments, and class participation required. Be prepared for heavy reading schedule. Cost:4 WL:1 (Ross)

SECTION 004. LITERATURE AND OTHER ARTS IN THE 18TH CENTURY: Although the detailed planning for this course remains to be done, the course will examine the relationship between literature, music, painting, architecture, gardening and perhaps some other arts during the eighteenth century, with particular attention to shifting tastes. WL:1 (Cloyd)

SECTION 005. LITERATURE AND THE FAMILY: The purpose of this course is to introduce students to a broad range of English works belonging to the period 1600-1830. By concentrating on the issue of family, students will discuss how individual texts respond to different configurations of society. That is, while we will be isolating family as a theme, we will also be raising parallel issues that influence how the family was conceived in the eighteenth century. These related subjects include revolution, urbanization, sexuality, mercantile economics and racial politics, to name a few. Authors to be discussed include Samuel Pepys, Aphra Behn, Jonathan Swift, Alexander Pope, Ignatius Sancho, William Wordsworth, Jane Austen and Mary Shelley. Students will be expected to complete two essays, one exam, and several response papers, as well as to participate vigorously in class discussion. Cost:2 WL:1 (Flint)

372. Studies in Literature, 1830-Present. English 351 recommended. (4). (Excl). May be repeated for a total of 8 credits.

All sections of English 372 fulfill the ECB upper-level writing requirement. Please add the ECB modifier at CRISP.

SECTION 001. LITERARY AND SOCIAL ISSUES: Despite its astonishing technological achievements certainly without parallel in former epochs the 20th century has been characterized as the "Age of Anxiety," and its most notable literature abundantly reflects this sense of mankind's alienation from the inner self and from the outer world. This course will examine representative English and American texts which powerfully treat themes of anomie, entropy, and isolation. The approach will be contrastive, achieved through clusters of novels exploring similar cultural, social, and intellectual "problems." For example: colonialism/imperialism in Conrad's HEART OF DARKNESS (Africa) matched with Graham Greene's THE QUIET AMERICAN (Vietnam); the woman in rebellion against strangling societal norms in Kate Chopin's THE AWAKENING, Wharton's CUSTOM OF THE COUNTRY, and Lawrence's LADY CHATTERLY'S LOVER; the deracinated/isolated protagonist in his failed pursuit of community in Hemingway's FAREWELL TO ARMS and Faulkner's LIGHT IN AUGUST; the quarrel with God reflected in Joyce's DUBLINERS and Flannery O'Conner's COLLECTED STORIES; and finally the demoralization resulting from media saturation and mass culture in Orwell's KEEP THE ASPIDISTRA FLYING, Nathanael West's DAY OF THE LOCUST, and Updike's RABBIT IS RICH. On any good day, about 90% class discussion and 10% positioning lecture. Required commitment (reasonable attendance and oral participation), along with the usual round of short and longer papers, a notebook of responses to readings, and a final exam. Non-majors welcome. This course fulfills the American Lit. requirement for English concentrators. (Eby)

SECTION 002. LITERATURE AND HISTORY: English writing from 1830 to the present displays an explosive variety of forms and contents. We will study this period in relation to the development of modern technologies. We begin with the transition from a pre-industrial age (the age of Cooper's "frontier" and Carlyle's "rural England") to the urban life of industrial modernity (the world of Dickens' HARD TIMES). Later readings include Mark Twain's A CONNECTICUT YANKEE IN KING ARTHUR'S COURT, Virginia Woolf's MRS DALLOWAY, and Thomas Pynchon's CRYING OF LOT 49. Throughout, we will consider how literature can help us understand the histories and technologies that have shaped both ourselves and what we read. How, for example, did the inexpensive magazines of the later nineteenth century affect the modern short story? How does our sense of what a modern story is inform the way we live our lives? At the same time, we will seek to expand our sense of what literature and writing can be. What kind of story tells a text devised for extraterrestrial readers, the plaque on the drifting space probe "Pioneer 10"? Class will be run through brief lectures and discussion. There will be two exams and several short writing assignments. (Cost:2 WL:1) (Leon)

SECTION 003 This course will sample the British literature produced in the Victorian and Modernist periods. For the Victorian period, we will read some of the poetry of Tennyson and Browning and two of the major novels, Dickens' GREAT EXPECTATIONS and George Eliot's MIDDLEMARCH. For the Modernist period, we will read some of the poetry of Yeats and T. S. Eliot and the following fiction: Conrad's HEART OF DARKNESS, James' THE AMBASSADOR, Joyce's PORTRAIT OF THE ARTIST AS A YOUNG MAN, Woolf's TO THE LIGHTHOUSE and Lawrence's LADY CHATTERLY'S LOVER. The format will combine lecture and discussion; I hope to arrange a number of student-led sessions. There will be a midterm and a final exam and two five-page papers. (Beauchamp)

391. Honors Survey: Medieval English Literature. Admission to the English Honors Program. (3). (Excl).

This course, the first in the English Honors sequence, surveys a wide range of literature from the Middle Ages. We will analyze both representative and eccentric literary productions, studying minor works and works by women as well as the more commonly studied works by men. Throughout the term, we will focus on the relationships between literary texts and their original cultural contexts, and we will attempt to decide how we might best interpret the texts from our own very different cultural perspectives. We will consider such cultural trademarks as gender roles and the relation of the self to the community. Requirements: active participation in discussion, oral reports, midterm and final examinations, two essays, frequent informal writing activities. Cost:2 WL:1 (Tinkle)

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 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)

407. Topics in Language and Literature. (3). (Excl).

READING FOR WRITERS: Do writers read differently? Can we learn important lessons about the craft of fiction from our study of finished works? We will read and analyze a wide variety of stories and novels, putting less stress on their thematic content and historical context than on the way they work. What are the implications of decisions about point of view, tone, structure, scale? We will look at some revisions, and read what authors have said about their own writing their problems with work-in-progress, and the kinds of solutions they have found. Assignments will consist of imitations, the creations of "new" (unauthorized) versions of our reading, as-yet-undreamed-of exercises, and one critical paper in which you will make audacious suggestions for the revision of a famous work. This is not intended as a course for writers only, but we will spend more time on technical questions than the average reading course. For those who have not taken a writing workshop, instructor's permission is required. (Brown and Hoffman)

411. Art of the Film. (3). (HU). May be repeated for credit with department permission.

SECTION 001 Film Theory and Criticism. For Fall Term, 1991, this section is offered jointly with Film-Video 414. (Paul)

413/Film-Video 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.

SECTION 001. INTERIOR VISION: THE SUBJECTIVE CAMERA IN NARRATIVE FILM: We will make a careful analytical study of representative major films spanning the international cinematic history of movies which tell all or part of their tales from the point of view of an involved participant in the action rather than from the stance of an objective onlooker. Film is especially conducive to this dramatic technique, often called by the shadowy name "Expressionism." We will study a wide variety of examples from The Cabinet of Dr. Caligari to the present. Exactly which films we will be seeing depends upon availabilities and negotiations still incomplete; I will post the schedule outside my office (2627 Haven Hall) before the beginning of Fall Term, 1991. The selection may well include musical films, thrillers, dramatized nightmares, satiric comedies, the usual complement of classics by major directors, and recent manifestations of the genre. There will be one film per week, two lecture classes (one of these for two hours), and mandatory small discussion groups scheduled at your convenience. English/Film-Video 413 may be repeated if content is different from a previous election. There are no prerequisites. Nevertheless, this course is not "An Introduction to the Movies," so any previous work in film analysis, theory, history, mechanics, and aesthetics couldn't hurt. Should film study be new to you, I recommend Louis Giannetti's Understanding Movies as preparatory reading over the summer. The course will emphasize the relationships between what these films say and how they say it, their styles, their cinematic "languages," their content, and their context. 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 (e.g., Giannetti, or a more advanced text for the experienced) and rigorous writing. Two two-page papers; two five-page papers; final exam. No "Incompletes" except under catastrophic circumstances. Those who do not care about the quality of their critical prose will find no place to hide. Anyone who uses "media" with a singular verb flunks. Cost:2 WL:1 (Bauland)

SECTION 002 AVANT GARDE FILM. (See Film-Video 413 for description. (Kober)

415. Interdisciplinary Approaches to Literature. (3). (Excl).

THE RITE OF WRITING: For fiction writers, poets and essayists eager to sail beyond the mechanical and technical horizons of writing. After twenty years of watching writing students grow innocent of creativity, the instructor has fashioned a workshop that focuses on the role of imagination and intuition in the writer's craft. Because intellect is largely analytical and organizational, it tends to hinder rather than engender creativity in the writing process. By making conscious contact with the subconscious mind - that fertile yet mysterious dwelling place of raw intuition - writers may recharge themselves, since true creativity proceeds from a relaxed, playful position, techniques and exercises for "warming up" are as invaluable to writers as they are to musicians, dancers and athletes. Participants will begin the term by writing spontaneously on carefully selected topics. Then, as mental ice-blocks melt and crackle, students will begin writing to music, smells and other vivid stimuli. By term's end, many will have rediscovered the creative energies they drew upon as children. WL:1 (Young)

417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (4). (Excl).

NOTE: English 417 should be elected by Senior English concentrators. Others by permission of instructor only. All sections of English 417 fulfill the ECB upper-level writing requirement. Please add the ECB modifier at CRISP.

SECTION 001. OTHERS OF INVENTION: LITERATURE AND EMPIRE: We will read comparatively in the literature of imperialism and colonialism in this senior seminar. We are going to do so by looking at a variety of authors whose contexts will range from the Greece of Aeschylus (The Persians) and Euripides (The Trojan Women) to the Nigeria of Wole Soyinka; from the imagining and the making of the "Promised Land" in the Judeo-Christian Bible (the Book of Judges) to Rashid Hussein's Palestine (Selected Poems); and from E.M. Forster's and Rudyard Kipling's Asia to Albert Camus' Algeria, Joseph Conrad's Congo, and Saul Bellow's "Africa" in Henderson, the Rain King. Also, central to this seminar's project is the on-going debate about how canons and traditions come to be "naturalized" or otherwise legitimized. We will try to assess whether the issue is especially acute in circumstances where the debate involves power and the quality of a given "canon's" capacity to represent the Difference that imperial expansion makes and brings. (See, for example, Edward Said's Orientalism; V.Y. Mudimbe's The Invention of Africa; Messenger, The Ethics of Collecting Cultural Property). The class will begin with a reading of Shakespeare's The Tempest, a play whose various "canonical" and "non-canonical" interpretations (from Cambridge to the Caribbean; from Madagascar to South America) will help locate us centrally in a number of key questions about imperial(izing) power and (de)colonizing representations. Note: There will be a course pack of relevant background and other "theory" materials. Cost:2 WL:1 (Johnson)

SECTION 002. AMERICAN WOMEN POETS IN THE EIGHTIES: A senior seminar on women poets now. Discussions will focus on the close analysis of formal and thematic qualities; among the recurring themes both of the texts and of the course will be the relationships of poetry and experience, particularly the experiences of gender, race, and family. The syllabus is likely to include the following writers: Rita Dove, Alice Fulton, Heather McHugh, Sharon Olds, Adrienne Rich, May Swenson. Jan Montefiore's FEMINISM AND POETRY - a book that usefully examines the notion of "experience" - will be assigned, along with course pack material ranging from additional poems to critical essays, from personal statements by poets to material on writing about poetry. THE METHUEN HANDBOOK ON METRE, RHYME, AND FREE VERSE by G. S. Fraser or John Hollander's RHYME'S REASON is recommended. Requirements include attendance, weekly one-page commentaries, attendance at two poetry readings followed by brief written reports, short paper and a longer final paper. This course fulfills the American Literature and the New Traditions req. for English concentrators. Cost:2 WL:1 (Ellison)

SECTION 005. MAJOR NOVELS OF WILLIAM FAULKNER: This course will focus on a study of the background, genesis, and composition of probably four novels, culminating in a close reading of the texts and discussion and the writing of papers developing from this whole process. The novels will probably include LIGHT IN AUGUST, THE SOUND AND THE FURY, HAMLET, GO DOWN, MOSES. This course will treat the backgrounds and genesis of Faulkner's work and then go on to a close reading of the novels mentioned above. Classes will involve both lecture and discussion, and the written work will include two papers and a final examination. Each student will present one of the papers in class. Satisfies the American Literature req. for English concentrators. Cost:2 WL:1 (Blotner)

SECTION 006. JANE AUSTEN IN CONTEXT: A key hypothesis of this course will be that Jane Austen is a political novelist. Through a careful reading of her six novels along with a) some of the novels by women of the late eighteenth and early nineteenth-century with which Austen's novels are in dialogue, b) others kinds of writing by and about women of this period such as conduct books, treatises on women, feminist and anti-feminist tracts, and c) selected works in social and cultural history we will explore what this hypothesis might mean. The center of this course will be working on close readings of the major novels; we will also discuss how to situate Austen's fiction within the context of English response to the French Revolution, and how feminist scholarship might help us understand her. Texts will be NORTHANGER ABBEY, SENSE AND SENSIBILITY, PRIDE AND PREJUDICE, MANSFIELD PARK, EMMA, and PERSUASION; Radcliffe, THE MYSTERIES OF UDOLPHO; Burney, EVELINA; Wollstonecraft, MARIA, and A VINDICATION OF THE RIGHTS OF WOMAN; plus a course pack. Students will be responsible for leading class discussion, writing an annotated-bibliography, and a long paper. NOTE: Students interested in taking this course might read EVELINA (Oxford UP) or THE MYSTERIES OF UDOLPHO (Oxford UP) over the summer. Satisfies the Pre-1830 and the New Traditions req. for English concentrators. Cost:3 WL:1 (Pinch)

SECTION 007. FAMILY MATTERS: In this class we will read together a variety of short stories, novels, and plays that focus on Family relationships. In addition, each student will do supplementary reading concerned with some particular issue/conflict/relationship within the family structure. Our shared aim will be to achieve an understanding of how various realities of family life get transformed into the material of art and how that art helps us to understand more fully the dynamics of the family as an institution. Class discussion will be the customary method of instruction. Each student will present one or two oral reports and prepare a substantial paper due at the end of the term. Grades will be based on contributions to class discussion, oral reports, and required written work. Cost:2 WL:1 (Jensen)

SECTION 008. FANTASY AND SCIENCE FICTION: 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 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. 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. WILLIAM BLAKE'S ILLUMINATED WORKS: This seminar studies the verbal/visual arts of William Blake's illuminated books, together with some of his other writings and pictorial works. The principal illuminated books to be studied are SONGS OF INNOCENCE AND OF EXPERIENCE, THE MARRIAGE OF HEAVEN AND HELL, and THE BOOK OF URIZEN. Written work includes classroom reports and a longer paper. Satisfies the Pre-1830 requirement for English concentrators. Cost:2 WL:1 (Wright)

SECTION 010. AMERICAN SENTIMENTALISM: Morbid, maudlin, sickly, self-indulgent, false, excessive: these are some of the adjectives that come to mind when we think of sentimentality. Yet for Americans in the middle of the 19th Century sentimentality wasn't a vice so much as a guiding ideology, a common cultural language. In this seminar we shall explore the significance of this language by investigating the roots and ramifications of various strands of American sentimentalism. Readings will include poetry by Sigourney, Poe, and others as well as fiction by Susan Warner, Catharine Maria Sedgwick, Louisa May Alcott, Nathanial Hawthorne, Lydia Maria Child, Harriet Jacobs, and Poe. Time permitting, we shall round out the term by turning to that curious modern phenomenon, sentimental anti- sentimentalism, as it is reflected in authors such as Ernest Hemingway or Sylvia Plath. Requirements: short paper, report, and longer essay. Satisfies the American Literature requirement for English concentrators. (Larson)

SECTION 011. SHAKESPEARE IN PRODUCTION: The simple premise of the course is that a production is among other things a critical reading of the play. The common course work will be the discussion of some of Shakespeare's plays and such productions as we can get access to (BBC videotapes, films, and presumably some amateur readings of our own as the equivalent of seminar reports). Each student will write a seminar paper on a topic arising form the course work. It may be necessary to change times to special evening sessions to accommodate the readings-reports in the second half of the term. Therefore all students will have to be able to attend these special sessions at the time we will determine at the first meeting. Students will be expected to pay for two or three theater tickets and perhaps a film fee. This course satisfies the Pre-1830 requirement for English concentrators. (Lenaghan).

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.

THE WRITING OF FICTION. OPEN TO SENIORS AND GRADUATE STUDENTS; WRITTEN PERMISSION OF THE INSTRUCTOR IS REQUIRED: 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 pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. Students who want to enroll in the course should get on the Wait List at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. (Ezekiel)

SECTION 002 A workshop course in the nature and technique of prose fiction. Classroom discussion will focus on student work - with an average expectation of 10,000 words to be submitted during the term. Revision, written critiques of the work of other seminar participants; attendance at the Visiting Writer Series of readings will also be expected. Permission of Instructor required. Students who wish to enroll in the course should get on the Wait List at CRISP, then bring a manuscript for review to the first class session. A list of admittees will be posted soon thereafter. (Delbanco)

425. Advanced Essay Writing. Open only to seniors and graduate students. (3). (Excl).

EFFECTIVE PROSE: The subject of this class is the prose style of its participants. Its first purpose is to help experienced readers and writers understand why prose works and why it doesn't. Such understanding supports the second purpose of the class, which is to enable its participants to be writers who please themselves by becoming editors who meet their own needs. Enrollment limited to seniors and graduate students. Cost:1 WL:1 (Fader)

427. Playwriting. Permission of instructor. (3). (Excl). May be repeated for credit.

This is an advanced playwriting class in which students write their own plays. Students who have taken 227 will be given preference; however, those who've had substantial playwriting experience will be considered. 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 play manuscript with phone number and address with the English Department main office, 7611 Haven Hall. The manuscript must be a one act or a full length play that is typed in manuscript form, and it must be received by Sept. 2, 1991. A list of those accepted into the class will be posted on the door of 3030 Angell Hall at 12 noon on Sept. 6. Cost:1 WL:5 (OyamO)

429. The Writing of Poetry. Written permission of instructor is required. (3). (Excl). May be repeated for credit.

Written permission of the instructor is required. Enrollment is limited. This is an advanced workshop for students who have written a significant amount of poetry and who have a serious commitment to their craft. Students should have taken one of the following writing courses: English 223 (Creative Writing) or 323 (The Writing of Poetry). English 240 (Introduction of Poetry) is also a recommended prerequisite. You must be ready to work independently, with a high level of motivation and intellectual curiosity. In addition to student poems, we will read and consider the work of selected contemporary poets. Each student will give a presentation on the work of an assigned contemporary poet (or write a short paper); lead one or two class discussions; write short reviews of the assigned poetry readings; submit a new poem to the class each week; and turn in a final, revised portfolio of at least 400 lines of poetry written for this class. There will be exercises in subject or form. Several books are required, and there might be occasional, graded quizzes. You will also incur some copying costs. Evaluation will be based upon your attendance (in class and at assigned readings); contributions to discussions; completion of exercises; quizzes; the oral presentation; and your revised portfolio. Those who wish to enroll must leave the following items in the English office (7607 Haven Hall) by Wed., Sept. 4th: a manuscript of 5 to 10 pages of poetry; a cover sheet with your name, major areas of study, year of study, previous classes in the writing or reading of poetry, and a brief explanation of why you'd like to take this class. BE SURE TO KEEP COPIES OF THE WORK YOU TURN IN. A final class list will be posted on my office door (1634 Haven Hall) by Monday, Sept. 9th, the day before our first class meeting. I'll give out Overrides on the first day of class. Cost:3 WL:5 (Fulton)

430. The Rise of the Novel. (3). (Excl).

This rise of the novel in 18th century England and America marks a corresponding rise of the individual "self's" legitimacy and significance in those cultures. Reading novels by Fielding, Defoe, Richardson, Sterne, Burney and Austen in England, and William Hill Brown, Hannah Foster and Susanna Rowson in America, we will explore the social and political ramifications of this revolutionary genre. Issues such as the nature and location of authority, the importance of individual rights in community, and the construction of personal identity especially in terms of gender and class will serve as the focus of much of our discussion. As women were just coming out as a literary force at the end of the 18th century, we will be paying special attention to gender issues and the ways in which women came to be simultaneously empowered and ensnared by the design of their own novels. Attendance and participation is expected, and written work will consist chiefly of two papers and exams. This course satisfies the Pre-1830 requirement for English concentrators. WL:1 (Barnes)

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), Ellison, (INVISIBLE MAN), Barth (End of the Road). Thinking the Self into Being: Chopin (The Awakening), Fitzgerald (The Great Gatsby). Ontological Insecurity, or Anxiety and Power: Melville (Benito Cereno and Moby-Dick), James (Turn of the Screw), Morrison, (THE BLUEST EYE), Faulkner (The Sound and the Fury). We will move forward and back in time to identify literary and experimental issues that have seemingly permanent status in American lives. The course will combine lectures and discussions. Two essays, midterm, and final examination are required. Satisfies the American Literature req. for English concentrators. 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; 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. (Cost: NA) (WL: 1) (Gindin)

434. The Contemporary Novel. (3). (Excl).

AMERICAN MASCULINITY: In focusing on questions of masculinity, this course will investigate the political and aesthetic investments of contemporary American fiction. Through readings of novels by men and women, supplemented by critical writing on masculinity, we will ask: What "makes a man" in contemporary American culture? Is masculinity fully represented by such manly icons as John Wayne, Clint Eastwood, Rambo? How do class, ethnicity, age, and sexuality complicate monolithic notions of masculinity and male identity? Attention will be given to the ways in which texts construct masculinity (and femininity), position readers in gender-specific terms, and respond to (and shape) culturally current notions of gender difference. We will also explore how different modes of contemporary narrative realism, parody, postmodernism, metafiction lend themselves to critique and/or affirmation of dominant ideologies of masculinity. Tentative reading list: Doctorow, The Book of Daniel; Hauser, The Memoirs of the Late Mt. Ashley: An American Comedy; Kingston, Tripmaster Monkey: His Fake Book; Michaels, The Men's Club; Reed, Reckless Eyeballing; Roth, My Life as a Man; Russo, The Risk Pool; Silko, Ceremony; book reviews; some autobiographical writing; critical essays. Requirements: Frequent short writing assignments, midterm paper, and a final take-home exam. This course satisfies the American Literature requirement for English concentrators. WL:1 (Robinson)

440. Modern Poetry. (3). (Excl).

In this course we shall study the major poetry in English of the period 1900-1940. Our principal subject matter will be work by the most important poets Thomas Hardy, W.B. Yeats, T.S. Eliot, Ezra Pound, D. H. Lawrence, H.D., W.C. Williams, Marianne Moore, Robert Frost, Hart Crane, Wallace Stevens but we will also devote some time to special topics like Imagism, the poetry of The Great War, and the Harlem Renaissance, as well as to the social, historical, and literary backgrounds of modern poetry. The objective of the course is a clear understanding of the techniques and themes of modern poetry, which are especially significant because they continue to influence and inform the poetry of our own time. The format is lecture and discussion. Requirements include two papers, a midterm, and a final examination. Satisfies the American Literature requirement for English concentrators. Cost:2 WL:1 (Goldstein)

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 this course. Expect the course to be demanding, however, and grading to be rigorous. 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. Admission to this course is by permission of instructor. Check 2619 Haven Hall for times to meet with instructor. Satisfies the Pre-1830 requirement for English concentrators. Cost:2 (Fraser)

443/Theatre 321. History of Theatre I. (3). (HU).

See Theatre 321

447. Modern Drama. (3). (Excl).

IBSEN TO BRECHT: This course will examine the rise of modern drama in the Western world by concentrating on the work of Ibsen, Chekhov, Strindberg, Shaw, Pirandello, and Brecht. Emphasis will be placed on learning how to read a dramatic text for its performative qualities as well as for its potential for enactment. Although no previous experience in the study of drama or theater is required, the course will begin by concentrating on the differences between the modern repertory and the forms we associate with Classical and Shakespearean dramatic conventions. Other topics of consideration include: the transformation from melodrama to modern drama, the social consciousness of the twentieth century stage, and the rise of the female figure as subject of dramatic inquiry. Cost:3 WL:1 (Brater)

449/Theatre 423. American Theatre and Drama. (3). (HU).

See Theatre and Drama 423. (Ferran)

461. English Romantic Literature. (3). (Excl).

ROMANTIC POETRY: Close critical investigations of the works of the major, male, early 19th-century British poets. Equally close attention to the social, historical, intellectual, and ideological contexts in which these works emerged. The general plan is, as far as possible, to collapse those two modes of inquiry (roughly, formal and extrinsic) into a single exercise in cultural criticism. If we succeed, we may gain an understanding of why those six poets came to define the canon for that particular interval of literary history. Requirements: Two papers and a midterm. First paper short, explication du texte, due early in the term. Second paper an exercise in critical research, due last week of classes. Midterm: study questions to be discussed by the class in two, pre-exam independent sessions, supervised by a graduate student. Exam will be in-class and based on a selection from the study questions. Satisfies the Pre-1830 requirement for English concentrators. (Levinson)

462. Victorian Literature. (3). (Excl).

This course will cover the development of British literature in the second half of the nineteenth century, with special emphasis on the relationship between literature and culture. Texts will probably include WUTHERING HEIGHTS, VANITY FAIR, VILLETTE, CRANFORD, THE WOMAN IN WHITE, MIDDLEMARCH, OUR MUTUAL FRIEND, PORTRAIT OF DORIAN GREY, and SHE. In addition, we will read some poetry by Browning, Tennyson, and Christina Rossetti, as well as excerpts from writings by Marx, Mahew, Darwin, and Ruskin (among others), in order to consider the influence of political, economic, scientific, and aesthetic discourses on Victorian literature. Central issues of the course will include the construction of sexuality, gender roles, and imperialism. Requirements will include a number of informal writings, two 5-10 pp. papers and a final exam. If possible begin one of the longer readings (MIDDLEMARCH, OUR MUTUAL FRIEND, or VANITY FAIR) over the summer. Cost:2 WL:1 (Vrettos)

465/MARC 465. Chaucer: The Canterbury Tales. (3). (Excl).

We shall read extensively in Chaucer's CANTERBURY TALES, combining this with lectures on Chaucer's life, times, reading, and possible presuppositions. Occasionally we shall look at other Middle English texts as well as French, Latin, and Italian ones (in translation) - to try to assess Chaucer's place in literary history and within 14th- century letters. We shall also cross-reference Chaucer's earlier works from time to time. A major emphasis of the course will be on Chaucer's practice as a poet, but we shall also do what all medievalists must always do, namely, consider problems of interpretation. Chaucer ranks among the very best of poets, so this course is designed to appeal especially to lovers of poetry. At the same time, Chaucer's thought is often wonderfully complex and subtle, and this course is designed to satisfy serious students of literature. Some prior experience with Middle English is strongly recommended. This is primarily a graduate course, but some undergraduate students will be admitted with permission of instructor. Please come by my office, 1627 Haven Hall, if you are an undergraduate student and are interested in the course. All students must write a short paper focused on poetics as well as a bibliographical essay on any topic of personal interest. We shall work hard in this course, but not at the expense of insight, fun, and appreciation. There will be a short course pack, some readings on reserve, and one book to buy: Benson's THE WORKS OF CHAUCER, 3rd ed., no substitutes accepted. Satisfies the Pre-1600 requirement for English concentrators. (Smith)

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. Satisfies the American Lit. requirement for English concentrators. (Cost:2 WL:1) (Larson)

473. Topics in American Literature. (3). (Excl).

SECTION 001 WRITERS ON THE LEFT. For Fall, 1991, this section is jointly offered with American Culture 498, Section 002. This course satisfies the New Traditions requirement for English concentrators. (Wald)

SECTION 003. NATIVE AMERICAN LITERATURE. For Fall, 1991, this section is jointly offered with American Culture 498, section 001. This course satisfies the New Traditions requirement for English concentrators. (LeBeau)

478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (Excl).

SECTION 001. ADAPTATION AND THE AFRO-AMERICAN NOVEL: This course will focus on questions of intertextuality and adaptation as they relate to contemporary Afro-American novels. By examining folkloric sources, intertextual connections between the novels, and, in some cases, film versions of the novels, we will investigate what happens to the stories as they are touched by the imaginations of writers and/or film makers of frequently different historical periods with often quite distinct ideological and aesthetic interests and agendas. In all likelihood, our examinations will include such topics as: gender, folktales, and cultural recovery in Toni Morrison's SONG OF SOLOMON and Paule Marshall's PRAISESONG FOR THE WIDOW; race, gender, and the uses of violence in Richard Wright's NATIVE SON, the 1986 film of the same name, and perhaps Shakespeare's OTHELLO; sexuality, gender, and power in Zora Neale Hurston's THEIR EYES WERE WATCHING GOD and Spike Lee's SHE'S GOTTA HAVE IT; THE COLOR PURPLE as literary/filmic text and cultural phenomenon; and television, transformation, and Ernest Gaine's THE AUTOBIOGRAPHY OF MISS JANE PITTMAN and Gloria Naylor's THE WOMEN OF BREWSTER PLACE. Course requirements: 2 ten page essays, and a weekly log of your responses to the course material. Access to a VCR would also help, but is not required. Satisfies the American literature and the New Traditions requirement for English concentrators. (Awkward)

482. Studies in Individual Authors. (3). (Excl). May be repeated for credit with department permission.

SECTION 001. JAMES JOYCE: This course will challenge and, I hope, reward you with an intensive exploration of Joyce's prose, from DUBLINERS through PORTRAIT OF THE ARTIST to ULYSSES. At the end of the term we will make several brief excursions into FINNEGANS WAKE. ULYSSES will constitute the central object of our study. We will supplement our investigation of Joyce's novels with readings from a Course Pack containing essays (by Joyce and his critics) and excerpts from books on Joyce. The Course Pack should assist you in understanding the novels; it will also comprise a sampling of the enormous diversity of interpretive approaches that Joyce's work has inspired. We will spend some time studying the interpretive history that frames Joyce's prose. Course requirements will include three essays (two five-page papers and a final, a more substantial essay that's about ten pages long); in-class reports; and a number of very brief in-class writing exercises. I strongly encourage class participation: this is not a lecture course. Cost:2 WL:1 (Whittier-Ferguson)

SECTION 002. DICKENS: Wilkins Micawber, that famous man of letters, wrote to David Copperfield, "Go on, my dear sir, in your eagle course!....We match 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 Tuesdays. (Hornback)

SECTION 003. JONATHAN SWIFT AND THE AGE OF SATIRE. This course will concentrate on Swift and his works, with attention to the history and nature of satire, and to works by authors other than Swift which will help to provide a context for Swift's work. I am in the early stages of planning this new course, for which the reading and writing requirements will be similar to other 400-level English courses. This course meets the Pre-1830 requirement for English concentrators. WL:1 (Cloyd)

483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.

SECTION 001 PRIMO LEVI AND THE MEMORY OF AUSCHWITZ Primo Levi was a Jew from Torino who survived a year in Auschwitz. His books, which deal recurrently with this experience, arguably constitute one of the major moral and stylistic projects of this century. In this course we will discuss four of them: Survival at Auschwitz, The Reawakening, The Periodic Table, and the Drowned and the Saved. We will also read selections from his book of shorter pieces, Another's Profession. We will examine in particular his understanding of the role of memory and remembering in constituting social experience, and observe the ways in which he confronts the problem of writing about the unspeakable. WL:1 (Williams)

490. Reading, Writing and Criticism in the Teaching of English. Concurrent election of English 491/Educ. D491 and English 305. (7). (Excl).

See explanation of the Professional Semester at the beginning of this section.

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 criticism of the canonical romantics: Blake, Coleridge, Wordsworth, Keats, Shelley, and Byron. 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).

SECTION 001 Restricted to and required of students in the second year of the English Honors program. The subject of the course is fiction from the mid-nineteenth century to the present, considered as historical development and divided into the categories of pre-modern, modern, and postmodern which we will examine critically. We'll also pay attention to the uniqueness of each novelistic voice. The reading list is heavy, and students are advised to read Dickens' BLEAK HOUSE and George Eliot's MIDDLEMARCH over the summer before the course begins. Tentative list of novels to follow: Meredith, THE EGOIST; Hardy, JUDE THE OBSCURE; Henry James, THE AMBASSADORS; Ford Madox Ford, THE GOOD SOLDIER; Virginia Woolf, TO THE LIGHTHOUSE; D. H. Lawrence, WOMEN IN LOVE; Doris Lessing, THE GOLDEN NOTEBOOK; Robbe- Grillet, JEALOUSY; Saul Bellows, SEIZE THE DAY; John Fowles, THE FRENCH LIEUTENANT'S WOMAN. Three 5-7 page papers, a midterm, and a final. (Gindin)


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