For all English classes, registered students must be present at each of the first two meetings to claim their places. Any students 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)
After taking or placing out of Introductory Composition, students may elect either English 224 or 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. A more advanced course for creative writers is English 323 (Fiction or Poetry), which is available by either permission of instructor or completing the prerequisite, English 223. More experienced writers may apply for admission to specialized sections of English 227 (Playwriting), English 423 (Fiction), English 427 (Playwriting), and English 429 (Poetry). Admission to these advanced courses is by permission of the instructor, who will require writing samples.
Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.
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 17 in 224 Angell Hall.
Section 017. This seminar will tell the story of The Group Theater's rise and fall, examining the esthetic and socio-political forces which brought together some of the most passionate theater artists of this century for one vibrant, arduous decade in the 1930's. We will read from several memoirs including co-founder Harold Clurman's The Fervent Years and actor/director Elia Kazan's A Life, while reading virtually the entire oeuvre of Group playwright-laureate Clifford Odets, drawing heavily from Margaret Brenman-Gibson's landmark biography as we venture past the Thirties to view both Odets' and the Group's demise as emblematic of the artist's continuing struggle in American society. We will read other Group playwrights and their contemporaries like Lillian Hellman and then chart the divisive fissures that McCarthyism further accentuated within the theatrical and literary communities. Finally, we will look at the fortunes of two other "group theaters," the Lincoln Center Repertory and Circle Repertory Companies, both self-styled inheritors of the original Group's mantle, as we read Arthur Miller's After the Fall and Lanford Wilson's Fifth of July. This course will demand lots of reading, five short polished papers, at least two of which will be "creative" in nature, a final group project, and vigorous participation in class discussion throughout. Prior theatrical training is not necessary; only a passionate interest in drama. (Roth)
Section 019 – Life Stories In this seminar in literature and writing, we will indulge ourselves in the pleasures of reading about other people's lives. Whether our texts are fictions disguised as biographies or biographies which pass for fictions, the assigned readings will illustrate the wonderfully diverse ways that writers choose to tell the stories of their lives or the lives of others. It will be less important to our study to figure out where the boundaries between truth and fiction lie in the texts we read – or if such boundaries exist – than to examine how writers use the circumstances of a life to express ideas. Whether biography, autobiography, memoir, or fiction, such writing inevitably considers issues of identity as a product of a particular family or a particular culture. We will think about identity and family and culture when we read some of the following writers: Maxine Hong Kingston, who fashions her autobiography out of the stories her mother has told her about her own past; or Mike Rose, who writes about literacy by telling the story of his own education, saying almost apologetically "I didn't know how else to get it right."; or Thomas Keneally, who presents the real life story of Oskar Schindler – the German who saved the lives of over 1100 Jews in Nazi Germany – in the form of "a novel"; or Rosellen Brown, who sets up both a logical impossibility and a truth about the interconnectedness of family lives in the title of her novel *Autobiography of My Mother*. Our texts may also include the writings of Richard Rodriguez, Toni Morrison, E. L. Doctorow, James Baldwin, and others. As we explore the connections between personal stories and public ideas in the writing of professional writers, I hope you will discover the relationship between your own life stories and the ideas you express in your writing. For this class, that writing will include short responses to the readings that will take several different forms and will serve as preparation and preliminary drafts for the seminar paper you will produce by the end of the term. Active participation in class discussion and regular attendance are also required. (Wolk)
Section 020. Students will read a variety of works - fiction and drama – designed to provide them with a wide experience of comedy. In addition, the class will read some of the key texts of comic theory. Class work and reading will be supplemented by opportunities to attend and write about comic performances – films, plays, videos. Class days will be given over primarily to discussion, supplemented by occasional and informal lectures. Frequent in-class writing assignments, two formal essays, a group project, and one major examination constitute the major course requirements. (Jensen)
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 about five 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 17.
217. Literature Seminar. Completion of the Introductory Composition requirement. (3). (HU).
This exciting range of 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. 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.
Descriptions for unlisted sections will be available in 224 Angell Hall after March 27.
Section 001 – The Monster in the Text. This course will examine diverse fictions, ranging from Greek and Roman myths to Anne Rice's INTERVIEW WITH THE VAMPIRE, the explore how and why different cultures have constructed their literary monsters. These questions, and many others, remain to be answered: What kinds of cultural anxieties and fears do these terrifying creatures make visible and vocal? What pleasure does the reading of these monsters give us? To what extent does the defeat of the monster resolve or contain those often conflicting anxieties and pleasures? Of course, the question looming behind all of the above is : What is a monster? During the term, we will develop our own ideas of monstrosity, as we examine the qualities and circumstances which determine and define a monster. The challenge will be to develop a theory (or theories) of monstrosity sufficiently flexible to account for historical shifts in the meaning of the concept as well as thematic shifts between biological, psychological, and technological monsters. Our rogues' gallery will include, among others, selections from THE ODYSSEY (Homer), from THE FAERIE QUEENE (Spenser), and from PARADISE LOST (Milton), as well as BEOWULF, THE TEMPEST (Shakespeare), FRANKENSTEIN (Shelley), THE HUNCHBACK OF NOTRE DAME (Hugo), DR. JEKYLL AND MR. HYDE (Stevenson), DRACULA (Stoker), THE ISLAND OF DR. MOREAU (Wells), HEART OF A DOG (Bulgakov), THE METAMORPHOSIS (Kafka), A CLOCKWORK ORANGE (Burgess), 2001: A SPACE ODYSSEY (Clark), and GEEK LOVE (Dunn). We will also draw upon contemporary theoretical materials which examine aspects of monstrosity as well as from historical analyses of the concept. And, we will view one or two monster movies, to be decided by the class. Course requirements include: brief response papers to the readings, one exam, one short (4-6 page) midterm essay and one longer (6-8 page) final essay. And, of course, active class participation. WL:1 (McCuskey)
Section 002 – Women & Empire. Our readings for this course will include Euripedes, THE TROJAN WOMEN; E.M. Forster, A PASSAGE TO INDIA; captivity narratives from Puritan New England. We will also make use of readings from Africa and Latin America. The issue: how are roles assigned to women (victims – as in the well-worn phrase, "innocent women and children"? active agents? beneficiaries? weak links?; etc.) in narratives of expansion, conquest, empire-building? What are the implications of such roles? How do "native" women differ in representation from the "mistress" women brought out with the conquering nations? We will look, then, as much at fictional characters as at anthropologists, such as the American anthropologist Margaret Mead in Samoa. In all, how significant is "Woman" in that "I came, I saw, I conquered" enterprise that has always seemed to be so much a masculine exercise? The class will begin with a series of lectures to establish common points and languages of reference for all of us. Thereafter, we'll try as best as we can to proceed on the basis of brief class reports and discussions. WL:1 (Johnson)
Section 003 – Responses to Bigotry. The subject of this seminar is the relationship between bigotry and the art of literature. Its material is imaginative literature written by and about bigotry's victims. Seminar members will read three plays and three novels by contemporary writers such as Abbee, Hochhuth, Walker, Kogawa, and Erdrick. Each member will write and rewrite a two-part paper of ten to twelve pages. The first part will propose a cultural context for one of the texts of the course; the second will examine the art of the text. Daily writings; seminar reports and presentations; no midterm or final. WL:1 Cost:3 (Fader)
Section 004. Every picture tells a story, the song tells us; but visual and verbal storytelling are yet more fully intertwined than even the song suggests. In this course, well look at some of the basic techniques that structure prose (and sometimes poetic) narrative, and some of the devices that structure visual narratives, especially film. We will explore these questions by spending one week with a novel, one week with a film, asking such questions as: how do these means of storytelling converge? How do they work differently from each other? How do the body, the senses, and the sense of self or identity get composed differently in these different narrative forms? How do others – racial, cultural, sexual, gendered – get constructed differently in the various media of representation? And to what larger social and political ends? And, most importantly, how do these texts work in the context of a culture increasingly devoted to visual representation? Texts will include: GREAT EXPECTATIONS (Dickens); GREAT EXPECTATIONS (Lean); THE WOMAN WARRIOR (Kingston); CHAN IS MISSING (Wang); MAUS I and MAUS II (Spiegelman); SCHINDLER'S LIST (Spielberg); BLADERUNNER (Scott); DO ANDROIDS DREAM OF ELECTRIC SHEEP (Dick) and a host of others. Two papers and a final. WL:1 (Freedman)
Section 005 – The Search for Identity: A Survey of Native American Literature. A ceremony is a set of rituals which reflects and responds to the relationships between all living things. Its purpose is to create a sense of harmonious community as much as it is to assist in understanding the concept of a network that connects all life. We will begin the term with the novel CEREMONY by Leslie Marmon Silko, as we explore how the concept of ceremony intersects with the search for Native American identity. The central theoretical question in Native American fiction in the twentieth century is a search for Indian identity, that is, an exploration of "Indianness." We will read texts that explore what it is that constitutes this quality and how to talk about it and even which texts can be considered Native American. It is helpful or misleading to use the traditional European-derived classifications by genre (such as poetry, fiction, and drama), school (such as realism, naturalism, romanticism, modernism) and other such terminology (such as myth, symbol, and hero)? These are some of the issues that we will confront together. Note: This class will be organized to coordinate with the activities of Native American Heritage Month, which occur throughout the month of November. Last year these events included assorted lectures, a literary panel, a play and a film. Our reading list will be drawn from the following: Silko, CEREMONY; Momaday, HOUSE MADE OF DAWN and THE ANCIENT CHILD; Hogan, MEAN SPIRIT; Bell, FACES IN THE MOON; Erdrich, LOVE MEDICINE, TRACKS, and THE BINGO PALACE; Welch, WINTER IN THE BLOOD and FOOLS CROW; Henry, THE LIGHT PEOPLE; Riggs, CHEROKEE NIGHT; McNickle, THE SURROUNDED and WIND FROM AN ENEMY SKY; Mathews, SUNDOWN and TALKING TO THE MOON; King, MEDICINE RIVER; Vizenor, HEIRS OF COLUMBUS and Mourning Dove, COGEWEA. Required work: active participation in class discussions, regular attendance, 2 papers (5-7 pages), one oral presentation, and a final exam. WL:1 (Casteel)
Section 006 – Nature and American Literature. This course explores "nature" both as an important philosophical or religious idea in a variety of cultures and as a persistent subject in the literature of the United States. We will briefly consider the idea of nature in classical antiquity and in Europe during the age of revolution (1750-1830), before exploring its American manifestations. We will study how Puritan settlers in New England developed a religious idea of the wilderness; how the United States learned to consider itself as "Nature's Nation," and the American landscape as both an expression of God's grandeur and a place of refuge for aspiring artists; how the theme of nature has persisted in United States writing, despite the industrialization of social life in more recent times; how Native American perspectives have influenced the literature of nature; and how the idea of nature has been central to American painting and visual arts. The syllabus is not yet fixed, but I am considering assigning texts by Bradford, Edwards, Thoreau, Whitman, Dickinson, Jewett, Hemingway, Faulkner, Agee, Frost, Williams, Momaday, Silko, Islas, Morrison, Snyder, and Dillard. Students interested in particular landscapes and their representation in literature and art will have a chance to share their interests with the class and influence the syllabus. Requirements: Class attendance and participation, and two papers (5 pages and 7-10 pages), with opportunities for revision. Cost:3 (McIntosh)
Section 007 – Child Worlds: The Literature of Invented Realities. This course will study the escapist base of literature about and/or for children. It will consider how the alternative worlds that provide the settings of this literature are structured and will compare the rules by which those worlds operate with reality which is judged unsuitable for children although children undeniably are part of it. Further, the course will ask you to consider how effective these worlds are in providing something (to be determined by the class) useful to the experience of childhood. We will also compare the truths of these worlds with the truths, as we are able to identify them, of our own childhoods and the childhoods depicted in literature intended for mature readers. Frequent short papers, one project, and a midterm – no final. WL:1 (Moss)
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 1994 Term. The work in English 220 is intensive and the classes are small. This course meets the Introductory Composition 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 Composition Program, 224 Angell Hall, 764-0418.
223. Creative Writing. Completion of the Introductory Composition requirement. (3). (HU). 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 discussing student writing. A final portfolio of revised finished 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 17.
224. The Uses of Language. Completion of the Introductory Composition requirement. (4). (HU).
The aim of this new second-year writing course is to help students improve the critical thinking and writing skills introduced in English 124 or 125. Each section of 224 will focus on the ways a particular value system affects individuals, and will read, talk, and write about that system. For example, students might consider the values that prompt ethical choices, or shape identity, or promote spirituality. Students will explore the way that language is used as a vehicle for urging specific beliefs in order to uncover rhetorical strategies at the heart of such modes of discourse. Classes will be conducted in workshop format and revision will form an integral part of the analytical process.
Course descriptions available in 224 Angell Hall after March 17th.
Section 001 – Invisible Discourse: The Language of the Unspoken and the Unspeakable. Although the title sounds paradoxical, this writing course will examine the nature of language by concentrating on the way people speak (or write) about the things that they can not, or will not, say directly – if, indeed, it is even possible to use language "directly." Thinkers have long realized that language does not just reflect or express a reality that is "out there"; rather, by "naming" something, language creates the picture of truth that we see, and our actions then proceed from the version of reality that we perceive. Since we must use language to think and speak and write, we cannot escape language's inevitable shaping of our perceptions, and thus we have no certainty that we can see any truth that is unaffected by this lens of language. We recognize, however, that some ways of naming the world are more accurate and more verifiable than others, and we strive to make these distinctions and to recognize the power that language has – power that we can use and power that can be used against us. "If you want to change the world," Confucius said, "you must first call things by their right names." But people also change our world by calling things by the "wrong" name, and sometimes they are at a loss even to find a name for what they feel. They lie; they propagandize; they create metaphors; they write poetry; they try to get at truth by indirection. Literature abounds with characters who deliberately lie because they want to create a false reality for others (e.g., Iago in Othello ); some characters cannot say some truths directly so they convey truth – and are understood – by words apparently unrelated to the real message (e.g., Paul and Norman in A River Runs Through It ); other characters try to convey their meanings by indirect means and are tragically misunderstood (e.g., Arnold in "The Stone Boy"). In this course we will examine these works, as well as essays, poetry, ads, and films – texts in which words may mean something other than they seem to be saying, texts which give us a new awareness of the way language and reality intertwine. Course requirements: 4-5 papers, written responses to the readings, writing workshops, regular attendance, and lively discussion. (Livesay)
225. Argumentative Writing. Completion of the Introductory Composition requirement. (4). (HU).
Like English 224, English 225 is centered upon practice in argumentative writing, but with topics drawn from a wide range of issues and problems. As in 224, students in 225 will work at structuring their written language to probe various aspects of the problem at hand. They will also explore the way language can be used as a vehicle for urging particular value systems, in order to learn to uncover the rhetorical strategies at the heart of such modes of discourse. Classes will be conducted in workshop format, and revision will form an integral part of the analytic process.
Course descriptions available in 224 Angell Hall after March 17th.
227. Introductory Playwriting. (3). (HU).
Section 001. A crash course immersion into the world of professional playwriting. Original student work is read aloud each week by actors, then critiqued in workshop fashion by the class. This workshop is modeled after the Playwrights Units at such distinguished Off-Broadway Theaters as Circle Repertory Company and Ensemble Studio Theater. Student playwrights are expected to write two revised one-act plays over the course of the term, see one play a week, read at least one play a week, meet weekly with an assigned partner, have weekly conferences with the instructor, and keep a journal. Mid-term and end of the year performances are open to the public. Instructor is a New York-based playwright and screenwriter with Regional theater and Off-Broadway credits (Arena Stage, GeVa, Victory Gardens, Circle Rep, Manhattan Theater Club) and the expectations of the workshop are of a similarly professional nature. To enroll, put name on waitlist at CRISP, come to the first day of class with dramatic-writing sample and compelling idea for an original play (class size limited to 15 writers). WL:1 Cost:2 (Roth)
230. Introduction to Short Story and Novel. (3). (HU).
Rather than a comprehensive survey of the short story and novel, this course offers an introduction to the basic techniques of analyzing prose fiction. Beginning with short stories, students learn to define questions of narrative construction, voice, characterization, theme, and style. As critical facility increases, the course will consider more challenging and in some cases experimental fiction. At least three novels will be read in addition to numerous short stories. Students should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses. Descriptions of all sections will be available after March 27 in 224 Angell Hall.
Section 001. This course offers students the chance to read and discuss short stories and novels and to write about them. The aim is to become readers ever more able to appreciate the artistry, humanity, and significance of individual fictions in specific works of fiction and in general in our lives. The readings, selected by both the instructor and the students, will include a wide range of stories drawn from an anthology (Eric S. Rabkin, STORIES: AN INTRODUCTION AND AN ANTHOLOGY, Harper Collins, 1994) and at least the following three novels: Kate Chopin, THE AWAKENING (1899); F. Scott Fitzgerald, THE GREAT GATSBY (1925); and Ralph Ellison, INVISIBLE MAN (1952). The written work includes a structured reading journal and two substantial papers. There will be no quizzes or final examination. The final grade will be based on class participation (20%), the reading journal (20%), and the two papers (25% and 35%). There are no prerequisites for the course. Cost:2 WL:1 (Rabkin)
Section 002. PURPOSE AND DESIGN OF COURSE: To read a substantial number of short stories (and two novels) by about forty well-established writers of the past and present in order to develop strategies of interpretation beyond mere "plot" and "characterization." Our method will be contrastive - during class periods we will cover stories that in some way have apparent similarities and our task will be to expose their differences. At about midway we will read and analyze two novels (a variable – but it is likely to be Orwell's 1984 and Stanislaw Lem's THE FUTUROLOGICAL CONGRESS as projections of the society's future). The reigning purpose is to expose students to as many different writers as possible in a restricted period of time. Some of these include: Hawthorne, Melville, Chekhov, Tolstoy, Maupassant, Kafka, Babel, Lawrence, Hemingway, Faulkner, Fitzgerald, Steinbeck, Wharton, Gilman, Flannery O'Connor, Shirley Jackson, Hurston, Lessing, Mason, Atwood, Bambara, Minot, and others. PREREQUISITES: None. What is wanted is an interest in reading with a willingness to explore one's capacity for critical and creative thinking. PROCEDURES: Instead of a midterm exam there will be 1) short (three-page) papers, 2) a longer end-of-term paper, 3) a special notebook in which students log their reactions to each assignment prior to class, 4) a final exam. Reasonable attendance and oral participation are also required. Honors section. Non-Honors students admitted by permission of the professor. WL:1 Cost:2 (Eby)
Section 003 – Reading Stories, Reading Cultures. How and why do you read stories? How and why should you go about learning to be a better reader of stories? These two interlocked questions will be the driving force behind this introductory course in reading narrative fiction. As we talk about the basic elements of fiction we will try to learn from the story comprehension skills and pleasures we've been cultivating for our whole lives (consciously or unconsciously), share tips with each other, and cultivate those pleasures and skills still further. First we will warm up our reading skills on individual stories by Isak Dinesen, Washington Irving, Charles Chesnutt, Abraham Cahan, Bret Harte, Frank Stockton, Stephen Crane, Raymond Carver, Louise Erdrich, Ursula LeGuin, Charles Baxter, and other writers who explore the relations between story-telling and community. Then we will look at two books which use linked short stories to provide comprehensive portraits of particular communities: Sherwood Anderson's WINESBURG, OHIO and James Joyce's DUBLINERS. We will then shift from talking about communities within stories to talking about stories within communities. By reading novels, short stories, and essays by writers who were members of the circle of friends known as the Bloomsbury group, we will be able to examine in detail the ways in which stories, reader, and writers can talk to each other, take part in intellectual communities, and produce shared values, ideas, and disputes. Our "Bloomsbury novels" will be Virginia Woolf's MRS. DALLOWAY and E. M. Forster's A PASSAGE TO INDIA. Since all four of the books I've mentioned were written during the first twenty-five years of this century in places which were present or past parts of the British Empire, we'll be able to wrap up the course by expanding our vision of community to include a whole culture. Written requirements for the course will include two 4-6 page papers, a number of shorter assignments, and a reading journal. I will also require regular presence of your body, mind, and voice in our class meetings. WL:1 (Westbrook)
Section 004 – The Self Image Through 'The Other'. This course will explore issues related to the construction of personal and cultural identity in terms of what an author, narrator, or character perceives to be "the other" – that is, a form of defining oneself by what one presumably is not. We will consider larger questions involved in this form of "oppositional" self-imagining and at the same time examine what kinds of narrative strategies and literary devices are particularly effective in the treatment of this theme. Our readings will include three novels, ROBINSON CRUSOE, Shelley's FRANKENSTEIN, and Ellison's THE INVISIBLE MAN, and several short stories by Flannery O'Connor, Ellen Wilbur, Maxine Hong Kingston, and others. Required: active class participation, two 5-7 page papers, and a final exam. WL:1 (Kim)
Section 005 – Short Story and Novel. In this class, we will read and discuss the fiction of a variety of authors, time periods, and cultures. The course is designed for people who like to read and are curious about what reading does for them and what they do when they read. Why do we like to read novels and short stories? How does reading affect the ways in which we think about our own lives? How do our unique perspectives affect the way we see fiction? The point of this class is to read extensively, to enjoy what we read, and to think carefully about the range of meanings that the fiction holds. We will read short stories by Edgar Allan Poe, Ralph Ellison, Joyce Carol Oates, Erdrich, Graham Greene, Alice Walker, Raymond Carver, Julio Cortazar, Franz Kafka and others. The novels we read will be drawn from the following: Charlotte Brontë's JANE EYRE, Jean Rhys' WIDE SARGASSO SEA, Thomas Hardy's TESS OF THE d'URBERVILLES, John Fowles' THE FRENCH LIEUTENANT'S WOMAN, James Baldwin's ANOTHER COUNTRY, Patrick Susskind's PERFUME, Jane Austen's EMMA, Cormac McCarthy's ALL THE PRETTY HORSES, Elle Wiesel's NIGHT, Toni Morrison's THE BLUEST EYE. Course requirements will include a short essay (4-6 pages), a longer final paper (6-8 pages), midterm, final exam, active discussion, and frequent one-page response papers. WL:1 (Miller)
Section 006. Our motivations for reading fiction can often be contradictory: we read to escape into an imaginary world, and yet we also read to enrich our understanding of our worlds and ourselves. In this course we will explore this tension by reading a wide range of novels and short stories. What type of worlds do these works create? What are the rules? What are the characters' needs, desires, and passions; and how are they being satisfied or thwarted? Why and how are we enjoying the work? Not only will we discuss formal questions of character, plot, setting, and tone, but we will also raise thematic ones about the relationship between the characters and their society, about the tension between home and adventure, and about the differences and similarities between these constructed works of fiction and the stories we tell of our own lives and times. As we discuss the above, no doubt we will also find ourselves talking about the authors' and characters' gendered, religious, class, and racial identities, as well. We will read Mary Shelley's FRANKENSTEIN, Dickens' GREAT EXPECTATIONS, Kipling's KIM, Morrison's THE BLUEST EYE, and McInerny's BRIGHT LIGHTS, BIG CITY. Short stories will include works from Arthur Conan Doyle, Edith Wharton, T.C. Boyle, Isak Dinesen, James Joyce, Charlotte Perkins Gilman, E.M. Forster, Angela Carter, Virginia Woolf, Ursula LeGuin, Elizabeth Bowen, Joan Didion, F. Scott Fitzgerald, Eudora Welty, Lillian Hellman, Olive Schreiner, Margaret Atwood, Anne Beattie. Class requirements: two polished essays (5-7 pages), weekly 1-page reading-response papers, regular class participation, and a midterm and final exam. Books are available at Shaman Drum Bookstore. WL:1 (Plunkett)
Section 007. As an introduction to literary analysis, this course will emphasize close, engaged reading as a way of generating provocative and fresh insights into literature. In addition to learning to read actively, you will work on translating your ideas into cogent, critical arguments in well-written prose. In order to investigate a range of styles, voices and genres, we will read literature from various periods and cultures. Thematically our readings will cover extensive territory, yet a persistent concern will be how narrative makes sense of the past: authors can "rewrite" a previous piece of fiction, tell interlocking tales, or use history in ways that reshape our understanding of the present. Readings will pair Charlotte Brontë's JANE EYRE with Jean Rhys' rewriting, WIDE SARGASSO SEA; The Brothers Grimm with Angela Carter's THE BLOODY CHAMBER; and Joseph Conrad's HEART OF DARKNESS with Chinua Achebe's THINGS FALL APART. Additional readings will be chosen from Jean Toomer's CANE, Ernest Hemingway's IN OUR TIME, John Fowles' THE FRENCH LIEUTENANT'S WOMAN, Maryse Conde's HEREMAKHONON, Christa Wolf's CASSANDRA, Art Spiegelman's MAUS, Joy Kogawa's OBASAN and Toni Morrison's BELOVED. Required work will include reading substantial amounts of fiction, lively class participation, short written responses to assigned reading, one short presentation, two short literary analyses (6-8 pages) and a final exam. WL:1 (Leverich)
239. What is Literature? Prerequisite
for concentrators in the Regular Program. (3). (HU).
Section 001. This seminar-style course introduces issues in and approaches to literary studies. We will read and talk about different kinds of works to develop our ways of reading them, and to ask what it is that we do when we read. Can reading a comic-strip be a political act? Some say it can't not be a political act. Should society tell you how to read fiction? Some say that you can only read in ways society dictates, that there is no such thing as free or private thought. We will consider critical takes on these and other questions, and come up with our own. But then, can we come up with our own answers? our own questions? Texts include work by Roland Barthes, Jean Baudrillard, Helene Cixous, Julio Cortazar, Stanley Fish, Michel Foucault, Sigmund Freud, John Hawkes, George Herriman, Claude Levi-Strauss, Marilyn Robinson, and Wim Wenders. There will be three essays and a final exam. WL:1 (Amiran)
Section 003. In this section of the course, we will raise and discuss questions related to the acts of reading and interpretation. We will also explore some of the basic techniques of analyzing different forms of writing. We will examine a broad range of texts, including theoretical, critical and literary works. The class will be based on a discussion format. Assignments will include weekly writing exercises, a midterm, and a final paper. WL:1 (Gregg)
Section 004. How do you decide, when you open a book, whether what you are reading counts as "literature" or not? How do we decide what a story means? This class is designed to explore and challenge common assumptions about literature, language, and culture; to disclose the active role of narrative in shaping self and society; and to open up a critical perspective on the workings of our own culture. We will explore these topics through a variety of readings, including both fiction and cultural theory. Format: discussion. This section of "What is Literature?" originated as part of the group of "critical thinking" courses developed in LS&A over the past few years; we will explore the meaning of that term and try to put it into practice. It will even be all right for students to question the accuracy of the teacher's views – at least, I will do my best to remain calm. Students' responsibilities: punctual completion of reading assignments, class participation, an oral presentation, three short papers, one examination. WL:1 (Howard)
Section 005. In asking the question "What is Literature?" we will be more interested in exploring boundaries and characteristics of different types of writing than in arriving at a specific answer. In that process of exploration we will look back upon our experiences as readers as well as examining closely a variety of texts. Texts will include long and short fiction, drama, film, poetry, "new" journalism, and essays, drawn from a wide range of cultures and historical periods. Among other books we will read Dorris, A YELLOW RAFT IN BLUE WATER; Morrison, BELOVED; Silko, CEREMONY; Forster, PASSAGE TO INDIA; and Shakespeare, KING LEAR and THE TEMPEST. There will be frequent writing of short pieces and a final examination. WL:1 Cost: 3 (Howes)
Section 006. What is Literature? Good question! Even if we don't quite answer it, it lets us ask a lot of subsidiary questions that ought to provoke our thought – questions that may seem simple but, on reflection, aren't. What are books for? Pleasure? Instruction? Passing time? Why do different people admire different books – or no book at all? Under what cultural influences? How does a book get to be thought a great book, a canonical book? Then again, what is fiction? What is a poem? Why? Who decided? How and when? How does a tradition get started; why does it stop? How is "literature" effected by such media as speech, print, and electronic communication? – In order to explore such questions, we'll read some oral poetry (e.g., Homer and the Anglo-Saxon Widsith); two novels (Hurston's THEIR EYES WERE WATCHING GOD, Conrad's HEART OF DARKNESS); a film (APOCOLYPSE NOW); a play (?); some short stories; a few essays; and quite a number of poems. We'll also read and analyze various kinds of "non-literary" texts, such as greeting cards, ads, and part of a Harlequin Romance. Assignments: participation in a story-telling workshop; three essays on increasingly challenging topics; two creative exercises. Collaborative work will be permitted but not required. The final exam will test critical thinking about the course readings and about a short new text. WL:1 (Smith)
Section 007. This course will provide an introduction to literary and cultural 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: Charlotte Brontë's JANE EYRE, Jean Rhys' WIDE SARGASSO SEA, Joseph Conrad's HEART OF DARKNESS, and Bram Stoker's DRACULA. In addition we will read critical and theoretical works that situate these texts in relation to different interpretive strategies. Requirements will include a number of informal writings, three 5 pp. essays and an exam. WL:4 (Vrettos)
Section 008 – The Art of Interpretation: An Act of the Mind. We hope to do the kind of analytical work in class that will allow you to join a community of people who carry on a continuing, informed conversation about literature. We will study literature which reflects both the social issues of the times and each author's unique shaping of that material. We want to read closely not only to see what authors say but how they say it. Thus, our readings will often focus on the dynamics of the imaginative process – our own as well as each writer's.. Moreover, if we begin this term finding ourselves reading rhythmically, somewhat slow, understated works, we will progressively find ourselves in the midst of the potentially explosive energy of Beckett's Rockaby, Fowles' French Lieutenant's Woman, Thorton's Imagining Argentina, and Irvings' A Prayer for Owen Meany. The format of the course will be discussion and more discussion; the focus will be on the exchange of ideas to find the critical questions that are most significant to us. The requirements of the class will include: two thoughtful and analytical essays (8pp./ea); a short weekly response to a text; and a comprehensive final exam. Although still tentative the readings will be selected from the works of the following authors: Wordsworth, Dickenson, Whitman, Dickens, Hardy, Hawthorne, James, Yeats, Eliot, D. H. Hwang, Toni Morrison, Naylor, Atwood, A. Tyler, Dorris, Allende, Erdrich, Hong Kingston, Julia Alvarez, Tan, Marmon Silko, Nanci Griffith, Holly Near, and Sting. Cost:4 WL:1 (Back)
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. Through reading and discussion we shall explore the questions we may ask of poems in a variety of forms from different periods. Poetry is a source of pleasure, and to understand and appreciate a poem fully as to understand any complex game we need to acquire knowledge and skill: fluency. We will read aloud, memorize, analyze, discuss. There will be frequent short writings, and a few longer papers, a computer conference and, probably, a midterm and a final. Regular attendance and active participation in class meetings are required. WL:1 (Cloyd)
Section 002. A month of development of poetic forms in English followed by concentration on contemporary American poetry with emphasis on the work of three poets – Alice Fulton, Laurence Goldstein, and Richard Tillinghast – who are faculty members at the University of Michigan. All three will read and discuss their poetry in this class. Daily writing to begin each class but the first and last. Two papers of 5-6 pages each. No midterm; no final. WL:1 (Fader)
Section 003. 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 004. 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. WL:1 (Henderson)
Section 006. This course is designed to enhance your enjoyment of poetry and to give you the skills that will help you to write about it. We will closely examine poems in a wide range of free and traditional forms, with equal emphasis on content (meditations on unrequited love, flea/mosquito bites, sinking ships, and interrupted dreams) and technical aspects (metaphor, rhyme, meter, tone) and how they intertwine. In one class we might look at a few poems written in different centuries on the same subject to see how poetry has evolved, and why it had to. On occasion we will read early drafts of work by such poets as Frost, Eliot, Yeats and Wilbur to better comprehend the deliberations that culminate in a poem. Required: participation in discussion, four papers of 3-5 pages, one "rewrite" of a poem from our anthology, quizzes, and a final exam. Text: The Norton Anthology of Poetry. Cost:2 WL:1 (Rosser)
Section 007. This course aims to make you more aware, through a survey of contemporary American poetry, of the choices poets make. To what degree should a poem be personal and impersonal? Should it confess, explain, describe, argue, or sing? Should it sound like a novel, like music, like speech? Most poems do all of these things to various degrees; in order to read and write about poetry you'll need to perceive and define these degrees. The course therefore asks you to learn both a body of knowledge (books by 8 poets) and methods of reading. The course will consist of discussion, informal in- class writing, and activity in small groups. Requirements: attendance, daily written responses, 2 papers, midterm, final. Books have been chosen for their stylistic variety and for their common interest in memory, language, mourning, and sexuality. We'll read the works of: Alexander, Bishop, Fulton, Hass, Kinnell, Lowell, Olds, and Pinsky. WL:1 (Terada)
Section 009. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," two formal essays of analysis, and a midterm and final. Class proceeds by discussion. Text is the complete Norton anthology of Poetry. WL:1 (Zwiep)
Section 010 – 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 a major modern poet (probably W.B. Yeats). Class discussion and occasional informal lectures will focus primarily on close reading of individual texts, but students should also emerge from the course with some grasp of the historical development of poetry in English. Frequent short papers, the last of which will serve as a final exam; no prerequisites. The text will be The Norton Anthology of Poetry, Third Edition. Cost:2 WL:1 (Bornstein)
Section 012. Poetry at its best is a mode of human communication, both vocal and scriptural, the aim of which is not the imparting of information per se – like "Directions" on a soup can or "Instructions" for an erector set - but rather intellectual and emotional engagement with some important human concern like love, folly, death, fun, etc. We will begin by looking at kinds of poems and how they work – like learning the rules and techniques of basketball or chess or dancing (and other pleasurable activities); then we will look at the range of treatment given those "human concerns" in poems written over the centuries. We will consider particularly how poems communicate what they want to engage us in and entertain us with. We will discuss these matters in class, write about them in a few short exercises (2 pp. each) and a couple of little essays (5 pp. each), and commit some good poetic example (say 50 lines) to memory. The course has little practical use: it just helps you understand human creatures (including yourself) and how they interact with each other – merely educational. Text: The Norton Anthology of Poetry, shorter ed. Cost:2 WL:1 (Powers)
Section 013. This course is for anyone interested in reading poetry with increased pleasure and understanding. We will read a wide range of poems of different kinds and periods, and try to develop skill useful in the analysis and discussion of poetry. During the term, we will move from a general survey of poetic techniques and forms to a brief but detailed study of the work of one or two authors. I expect to ask you to make group presentations, to write three substantial papers and a midterm, exam, and to keep a reading journal. Other requirements for the course are regular attendance and active participation in class. Texts: THE NORTON ANTHOLOGY OF POETRY and Ricks, POEMS AND CRITICS. WL:1 (Hofmann)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Humanities 281. (4). (HU).
See Theatre and Drama 211. (Brown)
270. Introduction to American Literature. (3).
Section 001. This course will survey 19th and 20th century American literature, mostly fiction. Writers to be studied include: Hawthorne, Scarlett Letter and stories; Melville (stories); Twain, Huckleberry Finn; Kate Chopin, The Awakening; James, The American; Dreiser, Sister Carrie; Wharton, The House of Mirth, Fitzgerald, The Great Gatsby; Hemingway, The Sun Also Rises; and Faulkner, Go Down Moses. Two short (5 page) or one long (10 page) paper will be assigned. There will be a midterm and a final exam. Cost: 2 WL:1 (Beauchamp)
274/CAAS 274. Introduction to Afro-American Literature. (3). (HU).
Students who are searching for an introduction to and overview of the incredible wealth, diversity, and range of writings by Americans of African descent need look no further. In this class, students will learn that the first writers of African descent were active in the eighteenth century, why the slave narrative can be seen as a quintessentially American life story, how women writers of African descent attempted to reconcile the struggle for freedom with the struggle for women's rights, what the Harlem Renaissance meant to those who lived during those heady years and to those who survived it, and how writers in our own time follow up on these great traditions and add some spin of their own. Some familiarity with English language literature will be helpful, but this course does not presuppose proficiency in literary studies. Requirements: two papers and two exams (at least) and diligent attendance. Cost:2 WL:1 (Zafar)
285. Introduction to Twentieth-Century Literature. (3). (HU).
We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical, and moral issues and preoccupations of this century. The works we will study are eclectic and arbitrarily chosen; there is no attempt to be all-inclusive, nor will we limit ourselves to English and American authors. Our subject will be some representative works of modern thought and literature. We will place equal emphasis on what these works say and how they say it. Our purpose is to sharpen the insight and intelligence with which we read and analyze some of the probing "documents" of our time. Reading: some standard authors and works; some idiosyncratic selections. Candidates for the reading list [availability of texts and reasonableness of prices will be factors] include works by Camus, Kafka, Koestler, P. Roth, D.M. Thomas, Mann, Kosinski, P. Levi, Morrison, or several others. Informal lecture and discussion, the amount of which will be influenced by the size of the class. Two papers (5-7 pp. each) and a final exam. Cost:2 WL:1 (Bauland)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (Excl).
The goals of this course are to improve students' writing and to read four books for pleasure and for the exploration of challenging ideas. Our concept of good writing includes both the achievement of personal voice and technical mastery. We will read two novels, THEIR EYES WERE WATCHING GOD by Zora Neale Hurston and THE DIARIES OF JANE TOMERS by Doris Lessing. The third book is A ROOM OF ONE'S OWN by Virginia Woolf. The title of a fourth book about contemporary molecular biology will be announced on the first day of class. We believe that learning to write better requires frequent writing and extensive revision. At least thirty minutes of every class session will be devoted to a writing exercise. Papers will be developed from some of these exercises. Class attendance is required because of the importance of in-class writing exercises. In order to do well in this course, students must be willing to explore the process of thorough and extensive revision. This is a large-enrollment lecture course. It fulfills the upper-level writing requirement for juniors and seniors. WL:1 (Meisler)
305. Introduction to Modern English. Recommended
for students preparing to teach English. (3). (HU).
Section 001. See English 313.020.
310. Discourse and Society. (3). (Excl).
Section 001 – The Henry Ford High School Project. This version of English 310 teaches students how to use their creative skills and social commitments to facilitate the powerful expressiveness of high school youth. It is rooted in respect for the youth's abilities and voices, in excitement about an educational process that promotes creativity, and in imaginative collaboration with the school faculty and administration. The small number of students admitted to this course work an average of two to three hours a week at Henry Ford High School, where they assist youth in creating their own video tapes, plays, photographs, and other forms of art. An additional two hours is spent in class meeting, where we discuss background reading and analyse and develop our work with the youth. We also plan and participate in one or two excursions by the youth to Ann Arbor. No exams; the nature of written work will be determined 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. This course satisfies the New Traditions requirement for English concentrators. WL:4 (Alexander)
313. Topics in Literary Studies. (HU).
May be repeated for a total of 8 credits.
Section 001 – The Hollywood Film Industry and the Construction of "America". In this course, we'll look at some of the ways in which the Hollywood film industry tells stories of what it is to be (and what it is not to be) an American and hence creates myths of normative American identity. From the first, in its various forms and genres – the Western, the gangster film, the comedy of marriage and re-marriage – the film industry has tried again and again to delineate ideal structures of American experience (the frontier myth, the domestic idyll of the middle class suburb) while at the same time, and often in the same film, complicating and critiquing its own narratives. And as they try, both actively and passively, to construct new stories for the American experience, Hollywood films also create structures of non-Americanness: threats to the ideal orders of home, family, nation, images of those who are excludable from the new American paradise. The ways Hollywood finds new stories to tell about these others – and the ways films and works of their own films told other stories about themselves, often about Hollywood itself - will be a major concern of our class as well. Films will include: BIRTH OF A NATION, THE MAN WHO SHOT LIBERTY VALANCE, THE SEARCHERS, A NIGHT AT THE OPERA, LITTLE CAESAR, GOODFELLAS, TOUCH OF EVIL, IT HAPPENED ONE NIGHT, IT'S A WONDERFUL LIFE, SHADOW OF A DOUBT, and CHAN IS MISSING. Readings will include some histories of Hollywood; and three novels: James Weldon Johnson, AUTOBIOGRAPHY OF AN EX-COLOURED MAN, Abraham Cahan, YEKL, and Maxine Kingston, THE WOMAN WARRIOR. Midterm and final; one short paper. WL:1 (Freedman)
Section 010 – 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 course requires attendance at two lectures and one discussion section per week. 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. WL:1 Cost:4 (Rabkin)
Section 020. 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:4 WL:1 (Cureton)
315/Women's Studies 315.
Women and Literature. (3). (HU). May be repeated
for credit with department permission.
Section 001 – Women in Contemporary Theatre. 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. This course satisfies the New Traditions requirement for English concentrators. WL:1 (Cohen)
Section 002 – English Literature by Women, 1660-1800. This is a survey course, designed to cover a wide chronological span and a wide range of work, to provide an overview of what women wrote when, for the first time, some were able to earn their livings as writers. We will read plays, novels, and poems, journals, letters, and commonplace books. We will also read a few of the most important works by male authors that indicate the literary and social conditions in which women worked. Among other questions, we will ask, though not necessarily be able to answer, these: who wrote? from which social classes and professions did they come? what did they write, and why? how dependent were they on male role-models and male-identified generic models? do we (and did they) think there was an identifiably "female" subject matter in this literature? Satisfies English Department requirements for New Traditions and pre-1830 courses. Two papers, two exams; books at Shaman Drum, small course pack at Dollar Bill. WL:1 (Krook)
Section 003 – The False Memoir. It's my hunch that women have created their own genre. In a series of extraordinary books, of autobiography and memoir, in essays and fiction, they have altered their own pasts to suit their own purposes. They do not simply cloak and encode the details of their lives; they have instead invented, altered, falsified, fictionalized the "facts" of their lives in what becomes a life-saving prose strategy. We will read and talk about a range of books that are at once provocative and vital, as if they held secrets we need to know; the point will be to enter these texts and find what they hold. Toni Morrison's fine essay in the collection, INVENTING THE TRUTH; THE ART AND CRAFT OF MEMOIR will be one sort of touchstone; Gertrude Stein's THE AUTOBIOGRAPHY OF ALICE B. TOKLAS, Cather's NOT UNDER FORTY, Lillian Hellman's PENTIMENTO, Mary McCarthy's MEMORIES OF A CATHOLIC GIRLHOOD, & Woolf's caprice, ORLANDO, are others. By our last session we will most likely be reading M.F.K. Fisher's THE WOMAN WARRIOR, Maya Angelou's I KNOW WHY THE CAGED BIRD SINGS, as well as Rita Dove's THOMAS AND BEULAH, and the exemplary poems of Sharon Olds, and Adrienne Rich. I'd like to begin, however, by reading Fitzgerald's THE CRACK-UP, and Hemingway's A MOVEABLE FEAST, each of which is a model memoir, the first confessional, the second an idyll of the 1920's in Paris – and a terrific memoir. Be prepared to write a couple of small papers, to talk in class, to read very closely, and to write your own memoir. WL:1 (Milford)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
Section 002 – Literature of the American Wilderness. 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, Willa Cather's O PIONEERS!, 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 (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. This course satisfies the American Literature requirement for English concentrators. WL:1 Cost:2 (Knott)
Section 003 – 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 sage, 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, not 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)
318. Literary Types. (3). (HU). May be
repeated for credit with department permission.
Section 001 – Theatre, Ritual, Myth: A Study of Contemporary Performance Theory. The course explores the nature of theater and its relationship to ritual and myth in contemporary performance. By attending plays and ceremonies as well as studying written and filmed accounts, we will explore a range of performance activities that combine theater, ritual, and myth. Although some background in theater will be helpful, the course will include an exploration of the fundamentals of theater aesthetics. Reading will be drawn from contemporary dramatic literature, theater theory such as Peter Brooks The Empty Space and Artaud's The Theater and Its Double, and works from sociology and anthropology, such as Victor Turner's From Ritual to Theatre. We will use productions at the University and in the surrounding area as a laboratory, attending plays by the San Francisco Mime Troupe's, "El Teatro de la Esperanza", among others, the Performance Network, and the U of M's Department of Drama. The course method will be lecture, discussion, and demonstration. Students will write two papers, take an exam, and make a group presentation. WL:1 (Cohen)
319. Literature and Social Change. (3).
(HU). May be repeated for credit with department permission.
Section 001 – Literature and National Identity. This course will examine the complex and contradictory relation between literature and questions of national identity and cultural difference. Through a close reading of a variety of texts from different literary traditions, the class will explore the ways in which the languages, forms, and ideologies of modern fiction are related to debates and disputes about the myths and master-narratives of the nation, of historical and ethnic memories, of regional, global, and linguistic boundaries. We will try to understand why stories need nations and why nations need stories; we will also examine the conflicting - and sometimes parallel – ways in which creative writers from a cross-section of "national" literature's in English imagine their national communities to compensate for "historical gaps," or how such writers use narrative form to subvert national doctrines. Other issues addressed in this course include the question of borders and boundaries, immigration and exile, race and ethnicity, gender and sexuality, the idea of home, geography and historical memory. Our readings will be drawn from poems, essays, and novels by Whitman, Michael Anthony, Earl Lovelace, Gloria Anzald`ua, Bharati Mukerjee, Doctorow, Du Bois, Paule Marshall, Joy Kogawa, Chinua Achebe, and Wole Soyinka. The course requires four short writing assignments, a midterm exam, and a final exam. This course fulfills the New Traditions requirement for English concentrators. Cost:2 WL:1 (Gikandi)
Section 002 – U.S. WRITERS ON THE LEFT: FROM THE 1930's TO THE 1960's. In the early 1930's, a new generation of radical writers set out to revolutionize the U.S. literary landscape by directly confronting the issues of racism, class oppression, sexism, war and exploitation in their fiction, poetry, drama, reportage and criticism. In works such as JEWS WITHOUT MONEY and UNCLE TOM'S CHILDREN, authors such as Michael Gold, the ghetto-born African-American Richard Wright expanded the boundaries of content and form of art in ways that left an indelible mark on our culture and national consciousness. Pioneering socialist-feminist writers such as Tillie Olsen and Meridel Le Sueur published chapters of works that would later receive acclaim as YONNONDIO and THE GIRL. Already published writers responded to major political events of the 1930's, exemplified by Ernest Hemingway's treatment of the Spanish Civil War in his novel FOR WHOM THE BELL TOLLS. Yet by the post-World War II era, many of these writers and their associates were under attack by the state and federal governments, the news media, the churches and demagogic politicians. Some were sent to prison, others went into exile, and still more repudiated their pasts or simply disappeared. This course will meet twice a week to explore many of the complex issues in literary radicalism from the tradition of cultural radicalism leading up to the stock market crash of 1929 until the end of McCarthyism in the 1950's and the appearance of a New Left in the early 1960's. This course satisfies the American Literature and New Traditions requirements for English concentrators. The final grade will be based on five components: 1) class commitment; 2) a short writing assignment; 3) a midterm exam; 4) a final exam; and 5) a final essay. WL:1 (Wald)
323. Creative Writing. Junior standing
and written permission of instructor. (3). (Excl). May be repeated
for credit with department permission.
Section 001 – 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 hours (posted on door of 2617 Haven Hall). Requirements are explained in detail during the pre-election interview. They include maintaining a journal of varied writing and other forms of composition and completing a series of weekly composition projects, individual and collaborative. Cost:2 WL:3 (Wright)
Section 002 – 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. Prerequisites: English 223 or permission of instructor. Cost:1 WL:1 (Exekiel)
Section 003 – Poetry. Although we shall do readings of modern and contemporary poems in order better to understand our actual and possible contexts, most of our work will take place in a workshop format: we shall write poems weekly, exchange them, and critique them. Most assignments will be free, but some will entail working within a particular fixed form or addressing a particular theme. For the workshop to succeed, everyone will need to turn work in on time and be able to offer constructive criticism that is respectful but not fawning, honest but not cruel. Evaluation will be based on the quality of the work produced weekly, on the quality of a final portfolio, and on workshop citizenship. The goal of the course is that all of us realize our best potential as poets, which should mean that we learn together to improve our craft. Admission to the workshop is by prior submission of a small sheaf of poems. Prerequisites: English 223 or permission of instructor. WL:1 (Smith)
Section 005 – Ficiton Writing. This section of English 323 will be devoted almost entirely to the consideration of student work. There will be no textbook, and there will be very little in the way of exercises and assignments. The class will be run as a workshop, meeting for three hours once a week to discuss the work of our classmates. Each student accepted into the class will be required to submit fifty pages for consideration by the class over the course of the term. Learning to write also means learning to read, and each student will be required to provide written critiques of each story to the author. Students will also be expected to actively participate in class discussions. Each student will be responsible for the copying of his or her work. WL: permission of instructor (Hynes)
Section 007 – Fiction. In this fiction workshop we will do some outside reading (Joyce, Flannery O'Connor, Raymond Carver, Jayne Ann Phillips, Tobias Wolff, Charles Baxter, Joy Williams, Lorrie Moore, etc.) and some in-class writing assignments, but our principal focus will be on the students' own stories. Using the workshop format, we will discuss plot, structure, character, dialogue, narrative tension, voice, revision, and the like. Students are expected to produce 50 pages of new and original fiction and to attend at least two local fiction readings. Prerequisite: English 223 or permission of the instructor. WL:1 (Henkin)
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 40 pages of prose (300 words to a page). Course descriptions for individual sections not listed below can be found in the Composition Program, 224 Angell Hall.
Section 004 – Connection. Connecting one insight with another begins the process of making meaning and thus is the essence of composing both what we read and what we write. This course in composition will place the concept of connection – with all its many implicaitons – at its center. In our reading, we will examine the connections between personal conflicts and public controversies as we read the fiction of Toni Morrison, Paul Auster, Gabriel Garcia Marquez, Janet Kauffman, Don Delillo, and others who make such connections their subject. In our writing we will explore ways to make connections between our private voice and its public expression, recognizing that the real source of composition is the self and its connections, both imagined and real, to the culture. Class requirements include four 5-7 page papers, brief weekly responses to our readings, regular attendance, and active participation in class discussion. (Wolk)
Section 005. In this course we'll be considering some of the finer aspects of essay writing, and concentrate on developing an awareness of style through attention to the nuances of voice and tone. We'll do this in three interrelated ways. First, by looking at accomplished writers' essays, we'll be able to see how they handle the basic principles of good writing: control of material, understanding of audience, and a feel for the rhythms of language. Second, through extensive workshopping and revision, we'll explore the idea of writing as a thinking process. These two generative activities – reading and writing – will be interwoven into a speculative frame by which we will be able to identify patterns and paradigms of writing. Pending approval of class members, this course will be run on the portfolio system. Under Portfolio Assessment, you will not be graded on individual essays, but will instead receive extensive comments from the instructor, with suggestions for rewriting. There will be a midterm progress report which includes a letter grade for those who can't stand the suspense, and a final evaluation. You will be expected to hand in approximately 35-40 pages of final drafts as agreed upon in a contract with the instructor. For example, you may want to write four ten-page essays, or three thirteen-page essays, or five eight-page essays, or some combination of these. There will also be shorter in-class and out-of-class writing exercises. You'll be expected to keep track of all rough drafts and generating exercises, and to hand in a portfolio of all your work at midterm and at the end of the term. Required texts include The Essay Old and New by Corbett and Finkle and various handouts. (Cariello)
Section 006 – Violence and Literature. This course will investigate the relationship between writing and violence and to try to understand the ways in which violent metaphors inform our thinking, appear to lie at the heart of what is call Great Literature, and perhaps lie at the heart of the act of writing itself. Students will read a variety of literary texts to explore they ways in which Art and Truth and Beauty may be concepts that have sanctioned a variety of violent ideas from rape to murder in literature. How can we account for our apparent fascination with violence? Has it become the latest fad in our consumer society - a new commodity to be written, packaged, and sold? The course will focus on how we write, what words we choose and with what effect. Students will write a series of essays on some aspect of violence in literature. It is hoped that by the end of the term students will have a portfolio of essays that show analytic depth and reflect knowledge about how writing and violence may be inextricably linked. Required work includes 25-30 pages of prose in a format of the student's choice, response in journals to class discussions, and active participation and regular attendance. Required reading includes a course pack, Metaphors We Live By by George Lakoff and Mark Johnson, Violence and the Sacred by Rene Girard, and The Violence of Representation. (Swabey)
Section 007. This class is designed for advanced essay writers. In this section, we will read and talk and write about choices – the ones we make in our lives, in our thinking, and in our writing, particularly our "voices." Together we will work to improve our "ears" for hearing other writers' voices; to examine their choices, both in their styles and in their thinking; to develop our choices as critical thinkers; and to examine how to use our writing voices more effectively. Our goal will be to write exploratory essays, those which examine significant questions to ourselves and our readers. This class is a workshop, in which students critically and humanely read and discuss each others' work, enabling students to get a great deal of feedback and help in all stages of their work, and to see for themselves what is – and what is not yet – effective in their writing. We will work in small groups and in whole class workshops. In addition, we will read professional essays and discuss them critically, we will read about writing and the process of writing, and we will write regularly in a writer's notebook. The workshop method of classroom discussion requires each student's whole-hearted, active participation. Requirements include four formal papers and the pre-writing, drafts, and revisions that go into writing them; critiques of your classmates' essays in small groups or whole-class workshop; written responses to the readings; in-class free-writing exercises; one-page writing process papers on each of your drafts; assigned professional essays and short stories and essays by your classmates; at night meeting for speakers; active participation and faithful attendance; and two or more conferences. (Povolo)
English 350 & 351
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-concentrators alike.
350. Literature in English to 1660. (4).
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. (4). (HU).
Section 001. A study of Shakespeare's dramatic works, selected to represent his exploration of major genres over the course of his career. Although we will be reading the plays intensively as literary works, we will also be considering social and political issues in Elizabethan and Jacobean England in order to clarify the complex engagement of Shakespeare's stage with cultural controversies of his period. Our goal will not, in other words, be merely to appreciate Shakespeare but to examine the impact of his drama in its own day and to explore its ramification for ours. The following plays will be studied: RICHARD II; A MIDSUMMER NIGHT'S DREAM; THE MERCHANT OF VENICE; MEASURE FOR MEASURE; HAMLET; OTHELLO; KING LEAR; THE TEMPEST. The edition used for this section will be THE RIVERSIDE SHAKESPEARE and will be available at Shaman Drum Bookshop. There will be two lectures a week and all students must also register for a smaller recitation/discussion section. Due to the expected size of the class, discussion will be difficult at best during lectures; students will be expected to be fully prepared, however, and to contribute ideas as much as possible. There will be a midterm and a final exam, as well as three relatively short essays. WL:1 Cost:3 (Mullaney)
Section 008. The big name in drama, Shakespeare, appears as a character in most controversies having to do with the study of a canon consisting of white male Europeans, usually in the role of literary genius. In this course we will explore the work of Shakespeare the playwright, the writer for the stage whose creations have been revived again and again to be played throughout the world. What does the practice of theater contribute to the "universality" of the work? Why do contemporary writers who write about gender, race and sexual orientation find the stuff that critical dreams are made of in the 38 plays? The plays we will consider include: ANTONY AND CLEOPATRA, MEASURE FOR MEASURE, AS YOU LIKE IT, OTHELLO, THE MERCHANT OF VENICE, CORIOLANUS, RICHARD II, HAMLET, KING LEAR, A MIDSUMMER NIGHT'S DREAM, THE WINTER'S TALE, THE TEMPEST. We will look at the history of staging, performance, acting styles and boy actors, and the adaptation many theater companies make as they perform the plays for current audiences. Requirements include short assignments, two exams, and class attendance. WL:1 (Skantze)
Each of these courses will range over the materials of the periods indicated below in one or more of a variety of ways. Some may be multi-generic surveys; some may focus on the development during the period(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.
(4). (Excl). May be repeated for credit with department
Section 001 – Romances of the Middle Ages and the Renaissance. The medieval origins and subsequent development of this very popular form will take us back first to the 12th and 13th centuries for the story of TRISTAN AND ISEULT; then to some of Chaucer's CANTERBURY TALES and to the anonymous SIR GAWAIN AND THE GREEN KNIGHT (both 14th century); and then to Malory's MORTE D'ARTHUR (15th century). We'll conclude with an extended look at the 16th-century fusion of romance and heroic poem in Sir Philip Sidney's COUNTESS OF PEMBROKE'S ARCADIA and Edmund Spenser's FAERIE QUEENE. The writing will include frequent short papers, at least one longer paper, two hour exams, and a final. I'll also ask you to keep journals recording your responses to the reading. This course will fulfill the pre-1600 requirement for English concentrators. WL:1 Cost:2 (English)
Section 002. This course, the first in the English Honors sequence, focuses sharply on a series of major works from the Middle Ages. The purposes of the course are three-fold: to encourage, through discussion, a significant understanding of the meaning of the works we study; to enhance the students' ability to interpret literature; and to explore the relationships between the literary texts and their cultural contexts. The authors and works studied this term will include BEOWULF, Malory, Chaucer, SIR GAWAIN AND THE GREEN KNIGHT, EVERYMAN, ballads, and early drama. Requirements: several essays and a final examination. Cost:3 (Garbaty)
Section 003 – Pills to Purge Nostalgia: A Specific for Hope. This course will present for study a number of medieval texts of various sorts (poetry, romance, narrative, fabliau, drama) with an emphasis on comedy (farce, parody, grotesquerie) in relation to sacred themes, as well as a continuing attempt to define the nature and purpose of comedy more generally in relation to ideas specifically medieval and putatively universal. Writings will be assigned to fulfill the description of the course as completing the Junior/Senior writing requirement. No hour exams, mid-term, or quizzes, but constancy in attendance is required, and there will be a final examination. This course satisfies the Pre-1600 requirement for English concentrators. WL:1 (McNamara) Section 004. In this course we will investigate a variety of medieval literary figures that can in one way or another be deemed "monstrous." A tentative list of works to be read includes BEOWULF, THE LIFE OF ST. JULIANA, SIR GAWAIN AND THE GREEN KNIGHT, THE CANTERBURY TALES, and THE BOOK OF MARGERY KEMPE. Discussion will involve concepts such as Self and Other, masculine and feminine, the individual and God, Christian and pagan, as well as topics in political and religious history. Throughout the term we will be asking ourselves what values (medieval and contemporary) might influence the interpretation of figures such as Beowulf and Grendel, Sir Gawain and the Green Knight, Chaucer's Wife of Bath and Pardoner, and Margery Kempe, the mystic. Selections from THE CANTERBURY TALES will be read in the original Middle English (with modern English glosses); all other works will be read in translation. This course satisfies the pre-1600 requirement for English concentrators. WL:1 (Tanke)
371. Studies in Literature, 1600-1830. (4).
(Excl). May be repeated for credit with department permission.
Section 001 – Urban Life in 18th Century English Literature Pickpockets, bureaucrats, homeless children, and crooked lawyers are not twentieth-century inventions. The literature of eighteenth-century England frequently highlights the endless adjustments, confusions, conflicts, and discriminations necessary when geography compresses a large population into tight quarters. Class, gender, race, and other conditions emerge as increasingly more important social distinctions even as opportunities for the development of genuine cosmopolitanism arise. Our reading, primarily novels set in a bustling and combustible London, will present the challenges, dangers, and pleasures of city life in an age that though different from our own prepares us for understanding contemporary urban dilemmas and stimuli. Three papers, midterm, final. WL:1 (Artis)
Section 003 – Writing Revolution and Reform, 1770s to 1870s. This course explores writings on revolution and reform from the time of the American War for Independence to the emergence of Marxism and Social Darwinism. Although the course focuses on British writers, it includes a sampling of influential continental and American authors from this epoch. Just as this century is characterized by cycles of revolution- and reform-oriented politics aimed at putting into practice Enlightenment and post-Enlightenment principles, it was also a time of radically new literary experimentation when writers attempted to burst old forms of social behavior by forging new forms of writing, but the new forms themselves often remained dependent on the old ones. We'll examine how the intellectual and political trends of this century (such as Enlightenment thinking, literacy drives, slave-trade abolition, religious enthusiasm, the cult of sentiment, the parliamentary reform movement, industrial capitalism, machine-breaking, Chartism, imperialism, etc.) are reflected in the structures and aims of writing in a variety of genres. Several short essays and a final exam. This course satisfies the pre-1830 requirement for English concentrators. Cost:3 WL:1 (Ross)
Section 004 – The Relationship Between Literature and History. In this course we will examine the ways in which selected European novelists, short story writers, and poets, especially in the 18th and 19th centuries, discovered the sources of plot, characterization, narrative devices and imagery in the writing of historians, travelers, colonists of the 'New World'; and how together these various writing projects helped to shape the idea of a European Self over and against the colonized Other. A tentative reading list includes Daniel Defoe ROBINSON CRUSOE, Jane Austen, MANSFIELD PARK, Aphra Benn, OROONOKO, Heinrich von Kleist, 'The Engagement in Santo Domingo', excerpts from John Stedman, NARRATIVE OF A FIVE YEARS' EXPEDITION AGAINST THE REVOLTED NEGROES OF SURINAM, the poetry of William Blake. Requirements included weekly papers, revisions, and a final paper. This course satisfies the pre-1830 requirement for English concentrators. WL:1 (Gregg)
372. Studies in Literature, 1830-Present. (4).
(Excl). May be repeated for credit with department permission.
Section 001 – Narrative Unbound. What is narrative? Does every book have one? Do our lives have them? We will study narrative from several different theoretical standpoints – generic, postmodernist, formalist, psychological, structuralist, political, among others - to develop strategies for thinking about texts in general and fiction in particular. This course will require some experience in theory and literature. It will involve, among other things, the difference between story and discourse (what is told and how it's told), the need for resistance in narrative (the stop that keeps you going), social functions of narrative (socializing narratives like the Little Red Riding Hood fairytale), national and cultural narratives (the New World Order, or the story of progress that defines who is important in our culture – the people who are part of the story...), utopia and dystopia, narrative and sexuality, and narrative unconsciousness and control (including the narrative functions of racism and pornography). We will look at art and at comic strips, but mostly we'll read fiction by Beckett, E. Brontë, Conrad, McEwan, Melville, Poe, Robinson, Rushdie, M. Shelley, and Woolf, and theory by Barthes, P. Brooks, Chatman, Darwin, Derrida, Freud, Kristeva, Lyotard, Marx, D.A. Miller, B.H. Smith, and Zipes. Requirements: three papers and a final exam. WL:1 (Amiran)
Section 002 – Power, Discipline and Love in the Novel. From where do we get our ideas of love? Is love a personal commitment, a cultural construct, a chemical imbalance? Is marriage the embodiment of romantic love or the end of it? In this course we will not necessarily answer these questions, but we will consider the notion of romantic love in Anglo-American culture of the nineteenth and twentieth centuries and explore its relation to power and discipline in the novel. To a certain extent, love is always linked with power: to be "in love" is to acknowledge the other's power over you. But how is this represented differently in different classes and in different eras, and how is love different (if it is) for women than for men? We will also consider how the novel not only depicts the relationship between love and power but how it contributes to the power struggle through its representation of emotion. That is, we will be looking at how novels, through particular narrative strategies, assert their own methods of control over readers. The reading list will most likely include JANE EYRE, WIDE SARGASSO SEA, DRACULA, GIOVANNI'S ROOM, THE HOUSE OF MIRTH and THE REMAINS OF THE DAY. Course requirements are mandatory attendance, two formal essays, a midterm and final exam. WL:1 (Barnes)
Section 003 – Literature 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 literatures marked by a sense of the individual will alienated from the inner self and from the outer world. This course will examine some representative English and American texts of this century which powerfully treat themes of anomie, entropy, and isolation. Generally we will use a contrastive approach, achieved by reading pairs of works which explore similar cultural, social and intellectual "problems." For example – colonialism/imperialism in Joseph Conrad's HEART OF DARKNESS (Africa) matched against Graham Greene's THE QUIET AMERICAN (Vietnam). Next, the woman as rebel against patriarchal traditions as depicted through the male perspective of D H Lawrence's LADY CHATTERLEY'S LOVER in contrast with portraits of women found in twelve short stories about (and by) women writers such as Chopin, Freeman, Gilman, Warner, Canfield, Hurston, O'Connor, Lessing, Gordimer, Atwood, and Minot. Next, personal, cultural, and national paralysis in Joyce's DUBLINERS, Hemingway's IN OUR TIME (and other stories), and Faulkner's GO DOWN MOSES (or LIGHT IN AUGUST). Next, fiction as witness to demoralization resulting from media saturation and commercial propaganda in Orwell's KEEP THE ASPIDISTRA FLYING and Nathanael West's nightmarish chronicle of Hollywood, DAY OF THE LOCUST. And finally, the "gonzo" tradition (or anti-tradition) championed by Hunter Thompson's FEAR AND LOATHING IN LAS VEGAS, a quest for the ragtag remnants of the American Dream. Procedures: on good days the class is heavily involved in discussing issues and texts; on bad days the instructor has to resort to lecture. Requirements – commitment (defined as 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-concentrators welcome. Cost:4 WL:1 (Eby)
Section 004 – Fiction of Transition, 1880-1920. A study of some of the significant and influential fiction written by both Britons and Americans in the long intersection of the Victorian and the Modern eras in literary history. Questions about the historical definitions of literature will be discussed, as well as questions about the individual works. The tentative reading list will include one novel by each of the following: George Meredith, Thomas Hardy, Henry James, Edith Wharton, Theodore Dreiser, Joseph Conrad, Arnold Bennett, Ford Madox Ford, and Virginia Woolf. The class will proceed by discussion and the interruptible lecture. Papers, a midterm, and a final exam. WL:1 (Gindin)
411. Art of the Film. (3). (HU). May be
repeated for credit with department permission.
Section 001 – Film Theory and Criticism. For Fall Term, 1994, this section is offered jointly with Film-Video 414. This course satisfies the American Literature requirement for English concentrators. Cost:3 WL:1 (Konigsberg)
Section 002 – Vietnam and the Artist. A study of efforts by artists, primarily filmmakers, to understand and, in some cases, to prevent recurrence of such events as the war in Vietnam. Films will probably include: HEARTS AND MINDS, PLATOON, COMING HOME, BREAKER MORANT, ASHES AND EMBERS, THE DEERHUNTER, CASUALTIES OF WAR, THE WAR AT HOME, TOTAL RECALL, JONAH WHO WILL BE 25 IN THE YEAR 2000, THE PANAMA DECEPTION, and films made by the Vietnamese. Texts will include Denise Levertov's FREEING OF THE DUST, Kozol's THE NIGHT IS DARK AND I AM FAR FROM HOME, Brownmiller's AGAINST OUR WILL, and Vietnamese poetry and fiction. Discussion, both large and small group, will focus not only on the works, but also on their implications about personal attitudes and behavior and about social institutions. No exams. Journals and a final project, which may be a study of an individual artist, may be a study of a large problem raised in the course, or may be a relevant work of art or other form of direct statement and communication about Vietnam and related issues. WL:1 Cost:2 (Alexander)
412/Film-Video 412. Major
Directors. (3). (HU). May be repeated for credit
with department permission.
Section 001 – Federico Fellini. Federico Fellini, one of the authentic giants of the cinema, died in 1993. The body of work he left us is a truly remarkable achievement. This course will devote its entire attention to a retrospective of the major films of Fellini. We will emphasize the cinematic "language" and the dramatic themes of this master's films, the relationship between what they say and how they say it, their style, their content, and their context. I will post the exact schedule of films outside my office [2627 Haven Hall] before the beginning of the Fall Term. There will be one film per week, three lecture hours, and mandatory small discussion groups scheduled at your convenience. English/Film-Video 412 may be repeated if content is different from a previous election. There are no prerequisites. Nevertheless, the course is not "An Introduction to the Movies." Previous work in film history, theory, mechanics, critical analysis, and aesthetics couldn't hurt. Should film study be new to you, do not feel insecure. You will not be alone, and the course's reading will give you a solid foundation. I will also be happy to recommend preparatory reading before you leave for the summer; come see me this term. The obligatory purchase of a pass, cheaper per showing even than admission to campus film societies let alone commercial houses, covers the cost of seeing films, most of them probably at the Michigan Theater. Some reading [Giannetti's UNDERSTANDING MOVIES or an alternate text if that is old news to you, along with a slim guide to writing about film]. Two 2-page papers; two 5-page papers; final exam; no "Incompletes" except under catastrophic circumstances. WL:1 Cost:2 (Bauland)
417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (4). (Excl).
Section 001 – The Family Romance in American Literature. Contrary to its title, this course is not a Freudian study of the American family but an exploration into changing attitudes toward family, family roles and family values in eighteenth- and nineteenth-century America (and yes, we may even get to talking about "Murphy Brown"). The attention to family drama in early American literature was in some ways part of a larger cultural process involved in "domesticating" authority: both before and after the Revolutionary war, many American writers sought ways to realign readers' sympathies with their American homefront. More generally, the liberal politics of the age contributed to a preoccupation with private life that is still with us today. Throughout the term we will be reading from fictional and non-fictional works which exemplify American post-revolutionary culture's fascination with personal testimony, sentimental attachments, family relations and its national significance. Texts will probably include but not be limited to Thomas Paine's COMMON SENSE, selections from Rousseau's CONFESSIONS, Mason Weems' FIFE OF WASHINGTON, Charles Brockden Brown's WIELAND, Hannah Foster's THE COQUETTE, Catharine Williams' FALL RIVER. Besides weekly response papers (1 page), there will be a term paper due at the end of the term. This course satisfies the American Literature requirement. WL:1 (Barnes)
Section 002 – Comparative Literature. North America and the Caribbean share in and have contributed to the complex ways in which "The New World" has come to be understood. In brief, in this seminar we will compare the ways in which both areas have tried to come to terms/control/re-define the legacies of Columbus and colonial; conquistador and puritan; migration (of immigrant, slave, and cultural elites; of popular cultures and transnational corporations). Our readings will be from the United States, Cuba, Haiti, and such Anglophone islands as Barbados and Trinidad. Thus, Nicolas Guillen, Derek Walcott, Rosario Ferre (Puerto Rico), and Marys Conde (Guadeloupe) will join the perhaps more familiar names that Henry James, Willa Cather, and Leslie Silko may represent. After a sequence of introductory lectures, the class will proceed by discussion of class reports on projects and texts. WL:1 (Johnson)
Section 005. 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). There will be short written exercises and each student will write a seminar paper on a topic arising from the course work. The grade will be determined by seminar paper. 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. Cost:1 WL:1 (Lenaghan).
Section 006 – Poetry of Witness. This is poetry that perhaps would rather reminisce, perhaps would crave certain pastoral luxuries but can find no way to be rid of its responsibility to enormous events of this century such as: World Wars, Ethnic Wars, Nuclear Capability (Likelihood?), AIDS, Gender Rights, Bioethics, Excess, etc. This is poetry that must find ways to reconcile such events with an insistence upon art. This is poetry that matters, that breaks down, ultimately triumphs, sometimes glorifies, sometimes laments and mourns, always wonders. This is poetry that does not successfully deny anything seen, heard, felt, tasted; anything known about the world. Here is the struggle to maintain fairy tales while simultaneously acknowledging the illusion of what such tales and ideals provide. If you come to this class, come prepared to witness, to venture at least with your minds, eyes, ears, and conscience into the larger world that your private world exists within. Several short papers, one longer paper. This course satisfies the New Traditions requirements for English concentrators. WL:1 (Moss)
Section 007 – American Culture: Native American Women Writers. We will read works by major Native American writers from 1927 to 1992. The course will emphasize the cultural feminist politics of Mourning Dove, Ella Deloria, Leslie Marmon Silko, Louise Erdrich, Linda Hogan, and other native women writers. Class discussions will focus on the ways in which native women writers negotiate the often conflicting communities of women and Native America. One class presentation will be required, and there will be a final research paper. This course satisfies the American Literature and New Traditions requirements for English concentrators. WL:1 Cost:4 (Bell)
Section 008 – Biography, or Lifelines. When I began to write a biography I was a graduate student at Columbia University where there was a pretty strong tradition of what James Clifford, the distinguished 18th century scholar, called Writing Lives. But it had passed, and biography, which had been the province of the historian and the academic (few of whom admitted the hazard of the quest) was then disdained by them. Virginia Woolf, who had written two (one the life of a dog, FLUSH, another about Roger Fry, her sister's lover, whom she did not identify in that capacity)called it "donkeywork": for who but a domesticated ass would harness herself to what is recoverable of the past and call it a Life? By 1970 there was a sea change, and women writing the story of other women's lives brought to their scholarship a fresh and compelling urgency. We will look closely at the lives of Emily Dickinson, Edith Wharton and Virginia Woolf for perhaps the first half of the term. And against or alongside these lives we will place a cluster of documents. For example, as we read and discuss Quentin Bell's life of his aunt, VIRGINIA WOOLF, we will also read Angelica Garnett's DECEIVED WITH KINDNESS, A BLOOMSBURY CHILDHOOD, perhaps PORTRAIT OF A MARRIAGE, Phyllis Rose's A WOMAN OF LETTERS, Louise De Salvo's VIRGINIA WOOLF, THE IMPACT OF CHILDHOOD SEXUAL ABUSE ON HER LIFE AND WORK, as well as Woolf's own autobiographical essays and sketches. Reading Richard Sewall's LIFE OF EMILY DICKINSON, we may place it in context with Polly Longworth's AUSTIN AND MABEL, Susan Howe's MY EMILY DICKINSON, Adrienne Rich's invigorating essay, "Vesuvius at Home." I will take you with me into the labyrinth of research and writing in the lives of Zelda Fizgerald and Edna Millay. The point will be to examine and to question the writing of each of these lives as if we, too, were questing with intellectual vigor and a matchless curiosity. WL:1 (Milford)
423. The Writing of Fiction. Open to seniors
and graduate students; written permission of the instructor is
required. (3). (Excl). May be repeated for credit.
Section 001. In this class we'll be writing, reading, and talking about fiction. Students who sign up for the class should expect to complete fifty pages of fiction; they should be willing to revise what they already have written. Participation in class discussions will be essential to the success of the course. Students interested in applying to the course should get on the waitlist at CRISP and bring a manuscript to the first class meeting. Cost: 1 WL:4 (Baxter)
Section 002. 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:1 WL:1 (Ezekiel)
427. Playwriting. Permission of instructor. (3). (Excl). May be repeated for credit.
This is an advanced playwriting course in which students write their own plays. Coursework includes readings of professional plays available in a course pack, technique exercises and discussions. 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 taking the course should speak to the instructor first and then put their names on the Waitlist at CRISP. If asked to do so, the student must leave a sample of his/her handwriting (preferably writing intended for the stage) with the Department of Theatre and Drama in 2550 Frieze. The writing sample must be typed and bound and contain the name and local phone number of the student. The samples should be received one week prior to the first class session. Cost:1 (OyamO)
429. The Writing of Poetry. Written permission
of instructor is required. (3). (Excl). May be repeated for credit.
Section 001. This course is a poetry-writing workshop. Students will circulate and discuss their poems written during the term, as well as analyze a selection of poetry and criticism by eminent contemporary poets. We shall use an anthology of recent poetry as our central text. Students should be prepared to devote considerable time to composition and revision, and to extensive commentary on their fellow students' writing. Each student will keep a journal of readings, ruminations, and materials for poems. Some experience in creative writing courses is desirable, though not essential. Permission of the instructor is required. Leave a sample manuscript of 3-5 pages in Professor Goldstein's mailbox in the English Department office during the week before the first day of class, or bring a manuscript to the first class. A class list will be posted on the door of 1617 Haven Hall after the first day of class. Cost:1 WL:4 (Goldstein)
430. The Rise of the Novel. (4). (Excl).
Section 001. What we now know as the English novel took shape in the eighteenth and early nineteenth centuries. We will be looking at some examples in this history from a dual perspective, asking these two major questions: How did the novel get its start? How do we respond to these books today? In considering the second question we will view and discuss several twentieth century film adaptations. Books to be read will be drawn from this list: Defoe, ROBINSON CRUSOE; Behn, OROONOKO; Richardson, PAMELA; Fielding, SHAMELA, JOSEPH ANDREWS, TOM JONES; Smollett, HUMPHRY CLINKER; Sterne, TRISTAM SHANDY; Burney, EVELINA; Austen, PRIDE AND PREJUDICE; Shelley, FRANKENSTEIN; Emily Brontë, WUTHERING HEIGHTS; Charlotte Brontë, JANE EYRE. Film adaptations will be drawn from this list: ROBINSON CRUSOE, JOSEPH ANDREWS, TOM JONES, FRANKENSTEIN, PRIDE AND PREJUDICE, WUTHERING HEIGHTS, JANE EYRE. The class will be conducted mainly by discussion. There will be frequent writing of short, informal pieces, which will be judged under a portfolio system. There will be a final examination. This course fulfills the pre-1830 requirement for English concentrators. WL:1 Cost:3 (Howes)
431. The English Novel from Dickens to Conrad. (4).
Section 001 – 19th Century British Novel. A study of some significant and influential fiction of the 19th Century in Britain, with focus both on the individual texts and on many of the changes in fiction and in social attitudes during the century. The tentative reading list will include one novel by each of the following: Jane Austen, Thackeray, Dickens, Emily Brontë, George Eliot, Anthony Trollope, George Meredith, Thomas Hardy, and John Fowles' 1969 Victorian novel, The French Lieutenant's Woman. The class will proceed by discussion and the interruptible lecture. Papers, a midterm, and a final examination. WL:1 (Gindin)
433. The Modern Novel. (4). (Excl).
The class will study some of the major novels written in England, America, and on the continent during the past 100 years. We shall begin with Dostoevsky's The Brothers Karamazov and try to understand the major breakthrough that the author made in fiction and the impact he was to have on future novels and modern thought. The class will then examine the nightmare world of Kafka's The Trial and the psychic eroticism of Lawrence's Women In Love. We shall spend a number of weeks on Joyce's Ulysses, trying to understand the full dimension of the work and its relations both to the history of the novel and twentieth-century civilization. Virginia Woolf's To The Lighthouse will lead us to issues concerning identity and transcendence, and Faulkner's Absalom! Absalom! will force us to confront our own American dilemma, while allowing us to make a final assessment of the variability and possibilities of the modern novel. The course will proceed as a series of discussions between students and the instructor, except when brief lectures are necessary to clarify difficult points. Students will also attend a one-hour group discussion with a limited enrollment. The course requires that students write two eight-page papers and take a midterm and final examination. Cost:2 WL:1 (Konigsberg)
434. The Contemporary Novel. (4). (Excl).
The term "postmodernism" is rarely separated from the question "What is postmodernism?" We will explore competing definitions of postmodernism in contemporary fiction, film, and cultural theory in order, partly, to map out several distinct postmodernisms, but also to explore the ways in which anxieties about cultural identity are commonly at the heart of the postmodern phenomenon. Texts will probably include Barthelme, Snow White; DeLillo, Mao II; Carter, Nights at the Circus; Kingston, The Woman Warrior; Eco, Foucault's Pendulum; Erdrich, Love Medicine; Morrison, Sula; Reed, The Terrible Twos; Byatt, Possession; Atwood, Lady Oracle; and a selection of theoretical works. Midterm, final, final paper. WL:1 (Kucich)
440. Modern Poetry. (3). (Excl).
This course will examine the work of several Modern poets and their place within (or outside of) the Modernist movement. While we will read poems by Thomas Hardy, Robert Frost, Ezra Pound, H.D., Marianne Moore, and William Carlos Williams, we will focus most of our attention on three poets whose work had the greatest impact on the movement as it evolved and as it is viewed today, in terms of its influence on contemporary poetry: W.B. Yeats, T.S. Eliot, and Wallace Stevens. We will chart the progress of each of these poets as his style and material changes, and we will attempt to locate the stimulus for such change. Does it reflect personal or political circumstance, or a combination of the two (and if so, which concern seems to carry the most weight)? Students will be expected to participate in discussions of individual poems, so that we come to an understanding of the work through a joint enterprise and not merely through hand-me-down interpretations drawn from lecture and research. Two 5-page papers, a midterm, and a final take-home exam will be required. Cost:2 WL:1 (Rosser)
445. Shakespeare's Rivals. (3). (Excl).
This course is a study of the chief dramatists of the English Renaissance. Among them will be such writers as Lyly, Greene, Marston, Lekker, Middleton, Jonson. Marlowe, Chapman, Webster, Tourneur and even an anonymous writer or two. Students will be expected to attend class regularly and contribute to the frequent class discussions. From time to time, I shall be presenting more or less formal lectures. Grades for the course will be based on each student's total effort in the class. Formal requirements will include at least one long essay and two briefer writing assignments, a midterm and a final examination, and participation in the work of the class. This work may include an end-of-term production of a selected play or of scenes drawn from a variety of plays. This course fulfills the Pre-1830 requirement for English concentrators. Cost:2 WL:1 (Jensen)
446. World Drama: Congreve to Ibsen. (3).
Section 001 – "Acting Women, Acting Classics" This course will explore the literary dramatic canon of the late 17th, 18th and 19th century and the history of theatrical performance between Renaissance and Modern Drama. By attempting to imagine how the plays would be staged then, could be staged now, we will concentrate on the female characters, how they act and move, what choices directors and actors make when representing "classic" or female characters of a specific historical moment. Since traditional academic method makes the history of drama one of printed dramatic texts, we will try to explore how choices are made about which playwrights are still in print, and why some plays are saved, some lost. The representation of gender, of race, of sexual orientation will be explored when investigating how the white European male forerunners are not only studied, but more importantly in the practice of theater, how they are produced. When possible we will be expanding the traditional list with female playwrights, lesser known (perhaps more challenging) plays by canonized playwrights, and considering the theater of countries where drama is not primarily a literary form. Requirements include short papers, one extended project, active class participation and collaborative mock staging projects. WL:1 (Skantze)
447. Modern Drama. (3). (Excl).
Section 001 – 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. Requirements: There will be a midterm and a final exam. Cost:4 WL:1 (Brater)
449/Theatre 423. American
Theatre and Drama. (3). (HU).
Section 001 – American Drama: Before O'Neill/After Shepard. This survey course will examine the origin and development of U.S. Drama in the twentieth century. Beginning with playwrights like Eugene O'Neill, Susan Glaspell, Elmer Rice, Clifford Odets, and Sophie Treadwell, the class will focus on the interrelationship of U.S. culture in American Drama and American Drama in U.S. culture, especially as it manifests itself in the midcentury plays of Arthur Miller, Tennessee Williams, and Lillian Hellman. Topics of class discussion will include: the emergence of a nativist theater tradition, the role of ethnicity, the situation of the female playwright, the conflict between commercial and artistic values, and the move to a more pluralistic and inclusive theater, one in which previously marginalized voices move to center stage. Additional playwrights on the reading list include Lorraine Hansberry, Edward Albee, David Mamet, Sam Shepard, Maria Irene Fornes, Lanford Wilson, Tony Kushner, David Henry Wang, and August Wilson. At the conclusion of the course we will also consider the role of non-scripted drama, performance art, and theater collectives as they have broadened and transformed what we mean by "theater" at the end of the twentieth century. This course satisfies the American Literature requirement for English concentrators. Cost:3 WL:1 (Brater)
457/MARC 457. Renaissance
English Literature. (3). (HU).
Section 001 – English Literature of the Renaissance. This course will offer a selection of works from the late sixteenth century through the first two-thirds of the seventeenth – that is, up to Paradise Lost. We'll focus on major authors and their works, but we'll take some time for a variety of minor figures (especially poets). The course will include poetry, drama, fiction, and non-fictional prose, and we'll try always to be attentive to cultural contexts. Here are some of the principal works from which the reading will be drawn: poems by Sidney, Spenser, Donne, Jonson, Herrick, Herbert, Marvell, and Milton; narratives by Sidney, Spenser, and Milton; non-fiction prose by Castiglione, Hooker, and Bacon; and plays such as The Spanish Tragedy, Dr. Faustus, Volpone or The Alchemist, and The Duchess of Malfi. The writing will include frequent short papers, one longer paper, an hour exam, and a final. I'll also ask you to keep a journal recording your responses to the reading. This course will satisfy the pre-1830 requirement for English concentrators. Cost:2 WL:1 (English)
465/MARC 465. Chaucer: The
Canterbury Tales. (3). (Excl).
The Canterbury Tales is (are?) a number of things: satire, complex narrative, literary sociology, a pilgrimage story, and most clearly a collection of quite varied tales. The pilgrims make up a generous sample of the middle range of late fourteenth century English society; that fact points out from the text into the culture and its social history. The tales those pilgrims tell form a collection of examples of literary types; that fact points to other literature and literary history. The course will be a balancing act between these two references. We will read most of the tales, in Chaucer's English. There will be an hour exam, either three or six one-page papers, and an hour exam. The grade will be an average of these. The course satisfies the pre-1600 requirement. WL:1 (Lenaghan)
472. Twentieth-Century American Literature: Key Texts.
Section 001. This course surveys literature written in the United States from the 1920s to the present. Though there will be no single, unifying theme for the term, the readings will be arranged so as to highlight their relation to the social, cultural, and intellectual issues of the period. Novelists to be considered will include Anzia Yezierska, F. Scott Fitzgerald, Willa Cather, Zora Neale Hurston, Nathanael West, Dashiell Hammett, Donald Barthelme, Louise Erdrich, and William Gibson; poets will include T.S. Eliot, Langston Hughes, Sylvia Plath, and Frank O'Hara. Written assignments: three essays and a final examination. This course satisfies the American Literature requirement for English concentrators. WL:1 (Larson)
473. Topics in American Literature. (3).
(Excl). May be repeated for credit with department permission.
Section 001 – Class and Money in American Fiction. This course will explore the interrelationships of class and money in some American fiction. These will range from the rags-to-riches success formula of Horatio Alger's Ragged Dick of the 1880's to Tom Wolfe's satire of the glitzy get-rich 1980s, Bonfire of the Vanities. In between we will read W.D. Howells' A Traveler From Altruria, Henry James' The American, Jack London's Martin Eden, Theodore Dreiser's SISTER CARRIE, Edith Wharton's The House of Mirth, F. Scott Fitzgerald's The Great Gatsby, Sinclair Lewis' BABBITT, John Steinbeck's The Grapes of Wrath, and Philip Roth's Goodbye Columbus. Grades in the course will be based on three hourly exams and one essay (or perhaps two). This course satisfies the American Literature requirement for English concentrators. Cost:3 WL:1 (Beauchamp)
Section 003 – Three Modern Poets: Pound, Eliot, and Stevens. The course will examine what three major writers – Ezra Pound, T.S. Eliot, and Wallace Stevens – have to teach us about the kinds of relations possible among art, society, and individual experience. We will consider their chief works both in themselves and as responses to personal, political, and literary problems such as the construction of modernism, the impact of two world wars, or the psychological problems of twentieth century life. The readings are primarily poetry, with some critical prose by the authors themselves. We proceed by a mixture of lecture and discussion. There are two papers (about six pages each) and a final examination. English 240 would be a helpful but not essential background. Also satisfies American Literature Requirement. Cost: 3 WL:1 (Bornstein)
478/CAAS 476. Contemporary
Afro-American Literature. (3). (Excl).
Section 001 – The Uses of the Past in Contemporary Afro-American Narratives. During the course of the term, we will examine and attempt to account for the emphasis on the racial and cultural past that characterizes many Afro-American narratives of the last two decades, especially the impact of "history," complexly defined, on racial, gendered, and class identities. Working from the assumption that history and fiction are intersecting modes of storytelling, that they are comparable – though clearly not identical – acts, we will investigate such topics as: the (re)writing of slavery; gender, sexuality, and the burdens of history; and controversies within Afro-American literary and cultural studies about the constitution of a transhistorical black selfhood and identity. Also, we will focus on what black writers' historical fiction is meant to suggest about the racial, class, and gendered issues which impact us in the present. Course requirements: one longer paper (ten pages); one shorter essay (5-6 pages); and participation in a computer conference. WL:1 (Awkward)
479/CAAS 489. Topics in
Afro-American Literature. English 274 and/or 320
strongly recommended. (3). (Excl). May be repeated for a total
of 6 credits.
Section 001 – The Slave Narrative. In this course we will do more than establish some facts concerning slavery – the wheres and whens, the tasks, methods of escape, punishment, support for and abolition of the system. While treating these matters respectfully and seriously, I hope we will be able to examine more closely the why of writing: the need to control (in at least one narrative discourse) one's own life, the promise of writing's political power, the desire to create literature that could add artistic insight to the public record of the slave and post-slave eras. We will read long and short narratives, some written by former slaves, some dictated by them. There will be autobiographical memoirs, novels, letters, and some speeches and poems. Three papers, midterm, final. WL:1 (Artis)
482. Studies in Individual Authors. (3).
(Excl). May be repeated for credit with department permission.
Section 001. 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. WL:1 (Cloyd)
Section 002 – William Blake's Illuminated Works. This course studies the (scripictorial) arts of William Blake's illuminated works and other literary and artistic inventions in relation to his times and the traditions leading to and from them. Written work will include journal writing with detailed commentary on individual illuminated designs and a longer paper. WL:1 Cost:4 (Wright)
Section 003 – 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, but you should bring a commitment to reading "difficult" prose with at least the intensity and patience you devote to poetry. Class proceeds by discussion. Requirements (probably) will include some oral reports, two papers, midterm and final. WL:1 (Zwiep)
483. Great Works of Literature. (1). (HU).
May be repeated for credit with department permission.
Section 001 – For Love of Learning: Newman's THE IDEA OF A UNIVERSITY. In mid-nineteenth century Ireland, John Henry Newman was commissioned to found and preside at a new university for the Catholics of Ireland, who had previously been denied access to higher education and only recently emancipated. In accepting, Newman delivered a series of public lecture designed to explain the nature of a university, ideally conceived. He affirmed that a university was not an institution for the instruction in religious formation and spiritual values, like a seminary; still less was it an institution for inculcation of moral character or for the promotion of social improvement, neither for personal advancement nor social change. A university, he maintained, existed for the love for and pursuit of leaning. This course proposes to examine the book The Idea of a University, placing it in its historical circumstances (including comparison with such competing theories as Matthew Arnold's moral humanism and Thomas Henry Huxley's advocacy of scientific and technological instruction) to see whether and in what ways Newman's thesis developed in this literary classic, is a living idea. The course requires attendance at lecture and the writing of one term paper; no exams. WL:1 Cost:1 (McNamara)
484. Issues in Criticism. (3). (Excl).
Section 001 – Introduction to Cultural Studies. Cultural Studies is a hybrid of various disciplines, including media studies, art history, anthropology, sociology, psychology, literary criticism, and philosophy. As an introduction to Cultural Studies, this course will address both current practices of Cultural Studies and the interdisciplinary history that gave rise to them. We will begin by tracing the history of the idea of culture as it is given theoretical definition in the writings of various 19th and 20th century thinkers: Marx, Freud, Edward Tylor, and Emile Durkheim. We will continue by asking how these ideas of culture influence cultural and interpretation theory. Finally, we will look at the influence of feminism on the idea of culture before setting to work on the loose collection of thinkers who currently give their allegiance to Cultural Studies. In addition to theories of culture, we will examine works of painting, the post-minimalist sculpture of Jackie Winsor, films – Aliens and Metropolis, advertising, Shakespeare's The Tempest, and Mary Shelley's Frankenstein. Some topics include ideas of natural versus cultural man, woman and culture, technology and the human, aesthetics and democracy. WL:1 (Siebers)
486. History of Criticism. (3). (Excl).
This will be an introductory survey of developments in literary theory during the past two centuries, with emphasis on the sweeping changes that have taken place in the past twenty-five years. Major areas of study will include romanticism, modernism, New Criticism, post-structuralism, materialism, feminism, and multiculturalism. We will be using various kinds of literary theory to help us answer basic questions about what and why we read, questions like: What is literary pleasure? Do authors determine the meaning of their texts, or do readers? In what ways are texts embedded in society and politics? Can pornography be literature? Are male readers/writers different from female readers/writers? On what principles was our literary canon established, and should it be revised? Our focus will be on the usefulness theory might have for readers, whether they be students or literary critics. Mix of lecture/discussion, but with a strong emphasis on student participation. Two, possibly three short papers, and a final project. Cost:4 WL:1 (Kucich)
493. Honors Survey: Nineteenth Century English Poetry. Admission to the English Honors Program. (3). (Excl).
This course will serve as an intensive introduction to nineteenth-century poetry, with an emphasis on the Romantics. In addition to reading poems by both canonical and non-canonical poets, we will read political and philosophical writings, examine other arts (such as painting), and read modern historical accounts of the period. We will work toward an interdisciplinary, historically-grounded understanding of the literature we read, linking both the thematic issues and the formal characteristics of that literature to the political, social, and aesthetic concerns of the age. Course requirements include class participation, several short papers, a group presentation, and a major final paper. This course is part of the Honors program in English and is open to students in that program. WL:4 (Henderson)
494. Honors Survey: Nineteenth Century English Fiction.
Admission to the English Honors Program. (3). (Excl).
Section 001 – Honors Survey: Nineteenth-Century English Fiction. This course is part of the English Honors Concentration and may be elected only by students already enrolled in the program. It covers the development of the novel (primarily British) in the second half of the nineteenth century, with special emphasis on the relationship between literature and culture. We will attempt to establish a critical and theoretical framework for talking about issues such as the politics of gender and genre; imperialism and the construction of national identity; class relations and transgressions; literature and evolution, and the history of sexuality. Readings will include both canonical and popular fiction ranging from works by Charles Dickens, George Eliot and Henry James to Bram Stoker's Dracula. Requirements include a 15-20 pp. research paper, an annotated bibliography, and a final exam. (Vrettos)
497. Honors Seminar. Junior or senior
standing and permission of instructor. (3). (Excl). May be repeated
for a total of 9 credits.
Section 001 – The Concept of the Aesthetic: British Romantic Poetry From a Marxist Perspective. In this course, we will use Marx's description of capitalism (its genealogy, its characteristic structures and relations, its internal contradictions) to bring into focus the social context of Romantic poetry. For an understanding of the mixed potentials of the aesthetic as defined by some representative works of the age, we take a dialectical approach, provided by cultural critics working within the tradition of Marxist thought. The overall plan is to situate what is in many respects a highly idealizing cultural practice within a framework that brings out its revolutionary potentials, then and now. WL:4 (Levinson)
Section 002 – "What Do You Read, my Lord?" "Words, words, words...." This seminar will study the production, transmission, and reading of texts – the stuff of our profession. We will proceed historically in the main, but with certain fundamental issues in mind. Who are those who create oral or inscribed "texts" in a culture? What sets them apart from others, and what privileges have they? How exactly did they think they went about what they did? Who copied down, and then made copies of what they produced? Who produced the texts WE read, and on what principles? What sets them apart from others, and what privileges have they? What and who gives a text "authority?" Finally: who have been the consumers of the texts we now characteristically read in our classes? What, if anything, does that have to do with how we might read them? We will address these questions, not in the abstract, but in the context of the pleasure of reading such works as the Odyssey, The Gospel Of Mark, The Satyricon, King Lear, The Sorrows of Young Werther, Song of Myself, Narrative of the Life of Frederick Douglas, Room of One's Own, and Ulysses - all variously works of "initiation." Requirements for the course will include individual and group oral reports to the seminar, and a variety of written pieces, totaling about thirty-five pages. WL:1 (Williams)
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