Fall Course Guide

Courses in English Language and Literature (Division 361)

Fall Term, 1998 (September 8-December 21, 1998)

100- and 200-level



A complete up to date listing of English Department course descriptions can be found on the World Wide Web at http://www.lsa.umich.edu/english/.

For all English classes, registered students must be present at each of the first two meetings to claim their places. Any student who does not meet this requirement may be dropped from the course. NOTE: If you must miss a class due to religious observances, contact the instructor or leave a message for the instructor with the department (764-6330).


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, or you may take English 227 (Introductory Playwriting). A more advanced course for creative writers is English 323 (Fiction or Poetry), which is available after completion of the prerequisite, English 223. More experienced writers may apply for admission to specialized sections of English 327 (Playwriting), English 423 (Fiction), English 427 (Advanced Playwriting), and English 429 (Poetry). Admission to these advanced courses is by permission of the instructor, who may 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. Students interested in independent study should obtain an application from the English Department office on the third floor of Angell Hall. Independent study proposals must be approved by a supervising professor and by the Undergraduate Chair of the department. The deadline for Independent Study in the Fall Term 1998 is September 14, 1998.

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124. College Writing: Writing and Literature. ECB writing assessment. (4). (Introductory Composition).
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125. College Writing. ECB writing assessment. (4). (Introductory Composition).
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140(126). First-Year Literary Seminar. Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU).
Section 002 Renaissance Drama. In this seminar, we will be reading both Shakespearean and non-Shakespearean Renaissance drama and using our encounter with these rich plays to develop tools useful to future literary study. Close attention to language, imagery, and characterization will be combined with an examination of historical conflicts and issues disputes over gender, class, power, and many more which are of continuing relevance in today's world. In addition, we will be emphasizing the performance of the plays, viewing recorded productions and experimenting in class with our own ideas for their staging. Among the plays to be read will be The Taming of the Shrew, A Midsummer Night's Dream, The Jew of Malta, The Merchant of Venice, The Spanish Tragedy, Hamlet, and The Duchess of Malfi (all available at Shaman Drum Bookshop). There will be weekly, brief writing assignments as well as two longer essays. Cost:2 (Mullaney)
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217. Literature Seminar. Completion of the Introductory Composition requirement. (3). (HU).
Section 001 Comic Responses to Catastrophe.
Study of post World-War II texts and films which take thematic material traditionally treated with "high seriousness," cast it in an essentially comic mode, and keep us laughing all the way to the grave. We will try to determine how and why these works are comic, to discover why, in our time, their mostly grisly subject matter elicits comic responses, and to define and describe the nature of comedy. About six books and two or three films; I will post the list outside my office [3180 Angell Hall] in April. Students also read a four-page anthology of comic theory covering a mere 2,500 years. Class size should allow each student a chance to lead discussion. One short paper; one longer critical/analytical essay. Course requires your actively and intelligently participating presence as we try to learn together [which is the nature of a seminar] why we laugh at other people's pain. (Bauland)
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223. Creative Writing. Completion of the Introductory Composition requirement. (3). (CE). 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. Class work involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages may be required. Section descriptions can be found on the department's Web page or in 3020 Angell Hall.

Section 001. To progress as a writer, you must be willing to write and to write badly. This class will be a refuge for your original fiction and poetry. Through discussion of your own creative writing and the reading of primarily contemporary authors, we will navigate the difficulties of writing well and meaningfully. Questions of voice, style, and the politics of writing will be addressed in relation to your work. Requirements will include: approximately eight original poems and two short stories, a writer's journal, and attendance of at least one outside reading. (Jaleel)

Section 002. In this introductory creative writing class we will explore the crafts of fiction and personal narrative (memoir). To do this we will ask and attempt to find answers to questions such as: How do we transfer personal experience onto the page? What makes our favorite stories our favorite stories? To these ends we will read published works, but our main goal will be to write and discuss our own fiction and nonfiction. Together we will discover previously not-thought-of ways to write about our lives and the lives of others. There will be a requirement of 35-40 pages of combined fiction and personal narrative. You are expected to complete assigned readings and to thoughtfully comment on the works of your classmates. You need only your experiences and imaginations. The rest we will wrestle with together. (Sayman)

Section 003. This course will allow you to explore and experiment with new ways of writing and reading poetry and fiction. Although the course will primarily be a workshop focused on your own writing, we also will read and discuss contemporary poems and stories and use exercises designed to get original, imaginative thoughts and techniques flowing. The goal of this course will be to achieve authenticity of voice and expression, drawing upon each writer's unique set of experiences and stories. We will explore how specificity and attention to sensory detail can create real worlds within your works. Requirements include class attendance, participation in discussions and critiques, attendance at two outside readings, and a final revised portfolio of 7-10 poems and 20-30 pages of fiction. By the end of term you will have improved as both writers and readers and will have gained the dedication necessary for re-thinking and rewriting stories and poems. Most importantly, your passion for reading and writing will grow to sustain itself beyond the classroom. (Durrett)

Section 004. This course will provide students with a foundation in the craft of writing fiction and poetry. To get a sense of what makes up a successful story or poem, we will begin the term by looking at the work of published masters. Written exercises will accompany reading assignments. Students also will be encouraged to keep a journal for collecting ideas for stories, stray sentences, bits of dialogue, dreams, thoughts on favorite writers. Once we have established a common ground for discussing issues of craft, the course emphasis will shift to student writing. Each student will be expected to turn in 5-10 poems and 20-30 pages of fiction. At least two poems and one short story must be distributed to class for workshop. Students will be expected to ask themselves, "How can I help the author fully realize this work?" rather than dwell on simple likes and dislikes. Thoughtful, respectful criticism is a key component of the final grade. Other requirements include timely submission of assignments, attendance at two readings by local or visiting writers, and participation, participation, participation. (Munoz)

Section 005. According to Louis Simpson, American poetry "must have/ A stomach that can digest/ Rubber, coal, uranium, moons, poems." That list is almost infinitely expandable with race riots, television shows, amusement parks, dawns, and poets. This course will be an experiment in how we learn to digest in language the facts of our lives. It will concern the writing of poetry and fiction, though the emphasis will be on poetry. Students will be expected to write and revise 8-10 pages of poetry, a 10-15 page short story, and five pages of short-shorts. Toward this end, we will workshop student pieces and examine the processes that lead from experience to writing and back again. Students will keep a writing notebook with in-class and out-of-class exercises designed to train the inner eye on places it might not normally focus. We will read closely the works of writers such as Heaney, Kafka, Neruda, O'Connor, James Wright, Plath, Rich, Kinnell, and spend some time on an in-depth examination of one writer's career. But our main focus will be on helping each student find a voice that can digest uranium and still "swim for miles through the desert/ Uttering cries that are almost human." (Haskell)

Section 006. This course is an introduction to the writing of contemporary literary fiction and poetry. Although the focus will be on your writing, we will also read and discuss selections from one of the recent Pushcart Prize anthologies. We will learn to discuss writing with intelligence and care before anyone's writing is workshopped (have no fear!). Each student will assemble a 30-35 page writing portfolio (which will include both in-class writing assignments as well as workshopped and revised stories and poems) and a journal (which is more like an "idea book," and can include sketches, pictures, words, etc.). Also, because listening to language should always be encouraged, attendance of at least two public readings is required. The goals of this class are to learn to read and write with both intelligence and passion and to generate fiction and poetry that causes commotion. Enthusiastic participation is expected. (Kochick)

Section 007 Writing the New. This will be an introductory course on the writing of poetry and fiction, with an emphasis on poetry. Be prepared to discuss your own and others' work at a relaxed, respectful, creative, and energetic level. The texts for this course will be a contemporary poetry anthology and a fiction anthology. There will also be some hand-outs of short but creative criticism which we will discuss in class. There will be a weekly writer's journal, in which you are encouraged to discuss the process of your writing; there will be one required review of a group of poems from the anthology or one work of fiction; and, at the end of the term, a final portfolio of your work (5-10 poems and 20-25 pages of fiction). If time and enthusiasm permit, there will be some experimental assignments to end our term. (Morrissey)

Section 008. This course offers an introduction to the writing of poetry and fiction, with a slightly greater emphasis on the former. We will consider some of the tools (style, point of view, rhythm, etc.) that you can effectively use in the craft of writing, and we will discuss issues that arise from your creative efforts. We will endeavor to provide discerning, constructive criticism to each member of the class, with the hope of discovering those gratifying moments of connection among writer, text, and reader. Since good readers make good writers, we will also look at individual pieces by an eclectic variety of authors and poets. To name a few examples: W.H. Auden, Gerard Manley Hopkins, Langston Hughes, Sylvia Plath, Jorge Luis Borges, Franz Kafka, and Alice Munro. Work requirements: attendance, significant contributions to class discussions, 8-10 pages of poetry, 20-25 pages of fiction, and a complete portfolio of well-polished revisions by the end of the term. (Pontee)

Section 009. "My father reads the dictionary every day. He says your life depends on your power to master words." (Arthur Scargill) Power: gaining control over language, finding your individual voice. We are all caught in a cacophony of juxtaposed lights and images; we are all hallucinating from media fixes, choking on best-seller-made-for-TV-movies, paralyzed by the courtroom gleam of OJ and Louise Woodward, and trembling from the machinery that murdered rap singers. In this class we will stumble through the intoxicating possibilities of voice through exercises involving poetry, monologue, performance art, and media. We will explore a range of voices to be the lady shoplifting gum in the express line, to be the man in drag yellowing in his childhood pictures, to be the eighteen-year-old who finds America in a beat-up Chevy with a carton of cigarettes. This course will give you the tools to be experimental and thought-provoking. Course requirements: workshop attendance and involvement, 8-10 revised poems, 20 pages revised fiction, and a writer's journal. (D. Smith)

Section 010. In terms of creative writing, we are all always beginners from now until the end of our lives; there is much to learn from each other and from established authors. This introductory writing course will focus on poetry and fiction, with a reading focus on poetry. We will spend most of our time workshopping each other's work, but will also read the works of several authors, including Denis Johnson, Raymond Carver, and Guy de Maupassant (fiction), as well as Louise Gluck, Theodore Roethke, and Adam Zagajewski (poetry). As we read and write we will discuss the significance of the singular word, as well as the development of punctuation and syntax in relation to theme, content, and style. Students will be expected to complete a portfolio of approximately 30 pages, comprised of some parts fiction, some parts poetry the balance of which will be discovered by the individual. Various exercises and excursions will help inspire and tune our creative impulses. Attendance and a voice are mandatory. (B. Lewis)

Section 011. People say that writing cannot be taught, and they are right. Writing is something you just have to sit there and do: an act of faith in yourself and whatever else. What can be taught is reading, and this introductory creative writing class, with an emphasis on fiction, will focus on helping students to become better readers of their own and other writers' work. We will start off by reading published stories and poetry with an eye towards technique: what effect is this poet/author trying to achieve here? What technique does he employ to that end? To what extent does he or she succeed? This rigorous reading will refine our ear for cliché, abstraction, and other enemies of clear self-expression. It will bear special fruit in the process of revision, arguably as important as the original act of writing itself. We will go on to use and develop these active reading skills as we workshop each other's poetry and diction. In addition to lively student speculation and a few selected writing assignments, 10 pages of poetry and 20 of fiction will be required. (Buckholtz)

Section 012. Our workshop in fiction and poetry will approach creative writing as an occasion for expressing the personal. To this end, we will try to learn the trick of original voice, and meditate upon the concept of writerly attention; but mostly we're going to give the brain a pen and some paper, and get out of the way as writing happens, excruciatingly and inevitably. Though students' work will always have priority, there may be assigned readings from contemporary writers, with slightly more emphasis on fiction than poetry. Requirements will include 5-8 pages of poetry and 20-35 pages of fiction, two major revisions due at the end of the term, consistent and careful critiques of classmates' work, and regular attendance. (Hyoun)

Section 013. This introductory creative writing course is for students who want to discover their writing voices, but don't know where to start. Through weekly writing exercises and readings, we'll help you get your words down on paper, then we'll experiment with the mechanics of writing (form, voice, characterization, etc.) in order to produce finished poems and short stories. This class will function as a workshop, which means that everyone will share his/her work with the group, and be willing to give as well as receive generous and helpful criticism. This will be a writing-intensive course, with the focus on the production and examination of your work. You will be expected to maintain a writer's notebook, complete weekly writing assignments, attend two local readings, and produce 25-30 pages of revised work for a final portfolio. Come prepared to get down to work, but also to gain valuable tools which will benefit you for a lifetime. (Morrow)

Section 014. "It is necessary to any originality to have the courage to be an amateur." Wallace Stevens. Is it possible to "learn" creative writing? Are there techniques and habits that seem to pop up more often than not in literature? Were you able to drive in the Indy 500 the first time you ever got behind the steering wheel? You get the idea. This introductory creative writing course will focus on poetry and fiction, a bit more on the latter than the former. It's a workshop, which means class participation is essential. We will read, we will write and we will explore exactly what an "amateur" has to gain from a little courage. Respect and open-mindedness are the only two prerequisites. Required work includes 5-10 revised poems, 25-30 pages of revised fiction, attendance at two readings by local or visiting writers and frequent writing exercises. (Downey)

Section 015. Why do we write? Simply to express the inner landscapes of our grief, joy, or laughter to what we call the world? In this introductory course we will use a variety of poetry and prose writings from different countries and time periods as stimuli as we begin our own great imaginative adventures. The emphasis will be on your writing; you will be expected to participate in class discussions and in the considered and constructive criticism of your classmates' work. So bring your open hearts and minds as we embark upon our unique dialogue with the world. Texts will include one short novel, a short story anthology, and a course pack of poems. Requirements will also include a personal journal, two brief in-class presentations and two conferences with the instructor. By the end of term, each student will have completed and revised twenty to thirty pages of fiction and at least six poems. (Tovanche)

Section 016 A Semester of Writing Dangerously. True story: one of America's greatest screenwriters teaches a college-level writing course whose only requirement for admission is one great obsession (e.g., Mommy, God, that terrible prom night). He actually hand-picks his students according to the intensity of their neuroses. Well, don't worry; I don't go that far I don't believe that fresh, compelling poetry and prose require relentless confessionalism or shock-value content. And workshop is certainly not a therapist's couch. But this course will require a fearless imagination, hearfelt sincerity, strong opinions, and dogged enthusiasm. We will inspire each other to write surprising, radiant pieces, and produce, at the end of the semester, an impressive, intelligent and polished thirty-page portfolio of poems and fiction. We will also be reading from a course pack and responding weekly to these readings. The workshop is a wonderful opportunity to write what is most dangerous that which is closest to your heart. (Hutton)

Section 017. This course will be an introduction to the writing of fiction and poetry, with a particular emphasis on fiction writing. We will read the work of contemporary short story writers and poets, but the focus of the class will be your own writing. We will discuss thorny issues of craft, such as characterization, voice, pacing, suspense, and dialogue. Above all, we will do our best to write tangibly. A writing instructor once said that good creative writing contains many tangible words such as "alligator" and few intangible ones such as "loneliness." In that vein, we will place as many alligators as we can in our stories and poems, appealing to the senses in the process. Course requirements will include a minimum of twenty pages of revised fiction, seven to ten poems, journal entries, active class participation, and attendance at two public readings. (Henkin)
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225. Argumentative Writing. Completion of the Introductory Composition requirement. (4). (HU).
This course furthers the aims of English 124 and 125 in helping to analyze the various claims of a given issue and to develop ways of exploring and defending positions, ideas, and beliefs in writing. Careful attention will be paid to the process of reasoning, the testing of assumptions and claims, the questioning of beliefs, and the discovery of ideas and evidence through analysis and rigorous articulation in written discourse. The course will also focus on considerations of style, formal strategy techniques, and revision as integral to precision in making points and developing argumentative ideas both for purposes of individual reflection as well as for the purpose of persuading an audience. Section descriptions can be found on the department's Web page or in 3020 Angell Hall.

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Section 001. In this class, we will focus upon the different components of argumentative writing, including the use of evidence, the importance of research, the development and articulation of an argument, and the importance of rigorous analytical thinking. Be prepared to spend a great deal of time reading, writing, and thinking. We will be reading primarily non-fiction essays (both contemporary and historical) on a variety of topics, including, among others, education, gender, technology, the arts, and contemporary political and social issues. The readings assigned will represent a variety of different perspectives on designated topics. We will discuss the ways in which these texts may or may not present models of good writing and argument, and you may also use these texts as springboards from which to develop the ideas you explore in your own writing. Course requirements include active and earnest class participation and prompt, regular attendance; three 4-5 page papers and one 7-9 page paper; complete revisions on two of the papers; weekly reading responses; and submission of paper prospecti, research notes, and rough drafts. (Williams)

Section 003. This is a course in argument. As such, we will spend much time constructing written arguments both rhetorically and stylistically, considering in the process issues like audience and evidence. In this class I will attempt to provide a public space where we might experience argument as both competition and collaboration, both communication and persuasion, both reflection and action. I will encourage consideration of the process we engage in when choosing a position, ask you to examine the historical contexts of a chosen position, and expect you to complicate the notion of argument as us vs. them/pro vs. con. In other words, I see argument finally as the constructing of sets of relations among people and will ask you to reflect on that notion. You will be expected to write four 5-7 page papers, several 1-2 page reading responses; you will also be asked to revise your writing often. Your participation is crucial to your success in this course. (Buchanan)

Section 005 Argumentative Writing as a Cognitive Process. Academic methods of constructing effective arguments have their roots in the biology of everyday cognition and communication. In this course we will take a fresh look at a variety of traditional tools for writing argumentative essays and examine the ways in which the scholarly art of logical persuasion reflects the neuro-linguistic processes that make us distinctly human. Students do not need a background in cognition, psychology, or biology; however, they should have an enthusiasm for reading and discussing a great deal of the latest research on the human mind, as well as a strong willingness to apply these ideas to (5) challenging argumentative writing assignments (each 5-6 pages long). (Melanson)

Section 006. Intense, passionate arguments between people bring to the surface the contenders' most deeply held convictions, most inventive justifications, and most concise expressions of wants and needs. They also unleash a torrent of rash accusations and narrow-minded demands. In this course you will write about issues important enough to have spawned vigorous arguments subjects like religion, politics, and culture. But instead of fighting over them, you will examine their components and research possible responses so that you can write persuasively about your position to a discerning audience. To aid you in producing more persuasive prose, we will read and discuss argumentative essays by published writers in various disciplines and by students in the class, focusing on the ways writers use evidence to support their claims. Requirements: three essays with revisions (ranging from 5 to 10 pages); shorter, informal assignments; and responses to other students' writing. Because classes are run as workshops and discussions, active participation is also mandatory. (Smith, Sondra)

Section 007. "It's perfectly logical!
It's got nothing to with logic, it's the way I feel!
Well, you write down your side and I'll write mine and then we'll see who's right!"

We're all familiar with the first two sentences. The third one is the subject of this course. Whether appealing to reason or emotion or both, we need to apply the most powerful style and language our disposal. To help us do this we shall be looking at such classic texts as Jonathan Swift's A Modest Proposal and comparing them with the latest writing in American and English periodicals. We shall write brilliant marketing pitches and letters to the press, produce reviews and counterviews, argue a legal case from both sides, defend a tricky ethical viewpoint, accept or reject a personal criticism, and attack an object of our disfavor. In between times we shall learn the effective use of wit and anecdote as well as how to be boring. During the process of drafting and writing we shall research outside sources and learn from each other in class. Finally, as a diplomat and with possible misgivings you will be a signatory to a democratically-agreed document on the result of this course. Failure to do so will start the third world war. Are you persuaded? Course requirements: 2 papers of ca. 5 pages (each counting 10% rough drafts will be discussed but not graded); 2 final papers of ca. 5 pages (each counting 15%); 4 papers of ca. 2 pages (no draft, each counting 5%). Attendance, active participation, peer editing (counting 30%); Over 15% absence annuls all else. Course books: Our Times, Robert Atwan, (5th edition, Bedford Books, 1998); A Pocket Style Manual, Diana Hacker (Broadbridge)

Section 008 Bodies of Evidence. In this section of English 225, we'll call into question what it means to argue-and what counts as evidence. We'll think about how both "the personal" and "the textual" play out in argumentative and persuasive writing. Readings will be drawn from a variety of sources and genres (popular culture, anthropology, literature, among others); discussions of readings will focus not only on what is being said but on how it is being said. Students should expect to write a lot-about four formal papers outside class as well as numerous informal responses inside class. Students should also expect to do a semester-long group project and to be dedicated to the workshop process. (Kaufman)

Section 009 Writing about Current Issues. In this writing class, we'll use the "Week in Review" section of the Sunday New York Times (and occasionally the Magazine or Book Review) as our textbook. Students will write weekly exploratory drafts about current local, national, or international issues, workshop those drafts, and choose three to continue to complicate, develop, revise, edit, and submit to a class publication. Students will also work in pairs or groups to lead class discussions on issues of their choice. Other writings will include freewritings, in-class exercises, dialogue papers, critiques of other students' drafts, analyses of the writing process, and a final essay/reflection on persuasion and rhetorical strategies. (Berggren)

Sections 011 and 018. This course will help you to develop the twin branches of argumentative, or persuasive, writing: logic and rhetoric. Using a reader, we will study classic arguments, including the writing of Marvell, Swift, Thoreau, Martin Luther King, and others. We will work on constructing valid, logical arguments, assembling evidence, and using it effectively. Finally, we will hone persuasive skills. Students will be required to write three "formal" essays, at least one of which will be revised during the course of the semester, to read and prepare assigned readings, to write peer responses to one essay of each of their fellow students, and to participate actively and fully in the class. (Aaron)

Section 012. This course is structured somewhat differently from most sections of 225. While we will of course still focus on writing (producing at least 30 pages of graded prose), that writing will take place in the context of community service. Students will spend part of each week working with selected community groups (primarily non-profit organizations); this engagement, along with more traditional research, will provide the basis for the argumentative writing. Ideally, much of the writing will be done for the community group i.e., student 'papers' will take the form of newsletter articles, fund-raising letters, volunteer manuals, etc. Class readings and discussions will be designed to help expand on the learning taking place in the community service. Students will be expected to give presentations on their work to the rest of the class. Using these different sources of information, students will learn to refine their analytical skills and tackle the challenges of writing effective, persuasive prose. (Boyd)

Section 013. During this course you will be required to write three revised, polished argumentative essays, ranging in length from 10-12 pages, on topics of your own choice. You must expect to engage in peer review and submit your own work for review both in draft and subsequently. We shall be gaining additional help with the technicalities of this kind of writing from the second edition of Diana Hacker's A Pocket Style Manual. And to gain inspiration for our work, we shall be reading, summarizing and discussing articles presented by you as the result of your own selection from the fifth edition of Robert Atwan's Our Times: Readings from Recent Periodicals. Additional class activities in which you will be expected to participate actively will be formal debates providing us with relevant communicative contexts for argumentative writing. (Edmonds)

Section 014. What does computer technology have to do with writing? A person can certainly become a good writer without ever learning how to use a computer, but because of its novelty and increasing prevalence, technology can intensify and highlight common writerly concerns such as audience and structure. This course will teach and encourage you to use the technological resources for writing that are available to all students here at the University of Michigan. As a class, we will read, discuss, and evaluate a diverse array of argumentative writings from books, journals, and the Internet. The assigned readings will cover a variety of topics, but most will touch on the implications, both good and bad, of the increasingly strong presence of electronic media in our daily lives. You will evaluate the kinds of argumentative challenges that the different forums, both old and new, present to us as writers. In keeping with the multimedia nature of the course, you will formulate your own opinions and write short formal arguments for presentation and discussion within our electronic mail group. You will also write two to three printed essays and will have the opportunity, if you choose, to design and implement a site on the World Wide Web. As a class we will discuss the implications of having and making this kind of choice, and ideally much of your writing will engage with arguments and choices that your classmates are making. Requirements: active participation in class and in our electronic mail group, five formal responses (300 words each) to assigned reading for dissemination and discussion within the electronic mail group, two short essays (five to six pages), and a longer project consisting of either eight to ten pages of writing or five well designed and linked HTML (World Wide Web) documents. (Crowley)

Section 015 The Power of One. How have writers used the power of language and rhetorical strategies to get readers to change their minds and look at issues differently? Can you do the same? In this class, we'll consider how journalists work to "show, don't tell" and how political writers work to effect change. Readings may include Jon Krakauer's Into Thin Air: A Personal Account of the Mount Everest Disaster, Susanna Kaysen's Girl, Interrupted, Martin Luther King's "Letter from Birmingham Jail," and essays from Patricia Williams' An Alchemy of Rights and Race: Diary of a Law Professor. The final essay will involve research on a specific current issue of interest to you. Other writings will include two revised and polished essays, four short reflective papers, exploratory drafts, freewritings, in-class exercises, reading responses, critiques of other students' drafts, and analyses of the writing process. (Berggren)

Section 016. This class will focus on listening and seeing from multiple perspectives as crucial argumentative skills. I will choose the first topic, on whether a "multicultural" category should be added to the U.S. census. We will come up with other topics together. At the same time, small groups will choose a community issue that they are interested in. Over the semester, groups will interview interested parties and collect other research about the multiple perspectives on this issue while formulating their own. Groups will will, if possible, present their final argumentative paper to an actual "change agent." Students will write 20-30 pages of revised, polished prose some of which will relate to the group projects. All papers will go through at least one draft. All students will participate in critiques of each others' papers. (Schutz)

Section 017. A successfully executed piece of argumentative writing ultimately entails winning your reader over to your point of view. Of course, there are all manner of ways for achieving this goal. This course will involve an exploration of the finer points of making an argument. As such, we will examine various types of writing to see how different writers, in various disciplines and contexts, go about asserting a particular position. We will explore argumentation which is developed not off the cuff, but thought out and well supported. In essence, we should think of the dictate for argumentation as being reflection, not reflex. Thus we will steer clear of logical fallacies and appeals to "common sense" in our efforts to present well-conceived, clearly presented points of view. Assignments include four papers (4-6 pages) and a number of short writing exercises. Class participation will be a significant factor in determining final grades. (Ray)

Section 018. See Section 011. (Aaron)

Section 019. "Only Connect," E. M. Forster wrote and issued all of us who write our essential challenge. This course looks at argument as a means of connecting, of hearing and being heard. Exploring our connections, and where connection falls apart, will enable us to imagine argument as both substantial intellectual work and a vital community behavior. The class will be structured as a writers' workshop, emphasizing discussion, revision, and collaboration. All essays will begin with your interests, which then will be shaped into projects through conversations with your classmates (including me), and will be treated first as drafts, accumulating communal feedback and revision as we explore the writing process together. Readings will therefore include both published works and essays-in-progress by students in the class, and writing experiences will include essays, collaborative writing, in-class writings, reading responses, library/Internet research, and written responses to other students' essays. (Henne)
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227/Theatre 227. Introductory Playwriting. (3). (CE).
Section 001.
In this course, we will write a one act play. We will start with the first whisperings of an idea, then nurture it, develop it, workshop it, and by the end of the term we will share our work with an audience of friends. Class time will be divided in three ways: (1) Writing games to stir imagination, touch passion, inspire ideas, explore voice. (2) Lectures on story telling principles and dramatic structure common to plays, screenplays, and teleplays. (3) Discussions of student writing. Other assignments will include reading plays, keeping a journal and meeting regularly with the teacher. Ambitious students are encouraged to write more than a one act play, e.g., a series of 10 minute plays or a first draft of a full length play. (Hammond)

Section 002. Students write short exercises and a short one-act play. Students will start by discovering the idea they wish to develop into a drama. Then they will nurture it through workshops and discussion that ultimately leads to a public, script-in-hand reading with post-performance discussion. Through reading and seeing plays, students will get practical experience in story-telling principles and dramatic structure common to plays, screenplays, and teleplays. Students must be willing to write and rewrite. (OyamO)
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230. Introduction to Short Story and Novel. (3). (HU).
Section 001.
This class will investigate the relationship between author and audience in fiction. We know the stories we read are fictional, yet we respond to the characters and events as if they were real; how does this willing suspension of disbelief correspond to the "truth" that fiction can deliver about community, race, gender, authority, etc.? We will read four novels Virginia Woolf's Mrs. Dalloway, Nella Larsen's Passing, Thomas Pynchon's The Crying of Lot 49, and Toni Morrison's Beloved one collection of short stories James Joyce's Dubliners and a variety of other short fictions, by such writers as Herman Melville, Zora Neale Hurston, Elizabeth Bowen, Gertrude Stein, William Faulkner, Amy Tan, Isak Dinesen, Paul Auster, and others. There will be a midterm exam and one long (8-10 pp.) paper, in addition to occasional quizzes. (Young)

Section 002 Exploring America. This class is an introduction to American fiction as well as an exercise in the practice of democracy. We will explore narrative strategies deployed by various American writers during the 19th and 20th centuries with a particular focus on how these narrators situate themselves within a "democratic" system. This subject matter will, I believe, be complementary to the situation in the classroom as we forge our intellectual identities as literary critics. I will begin with a course pack of short stories that might include Robert Coover, Raymond Carver, Achy Obejas, Randall Kenan, Elizabeth Bishop, and James Baldwin or Ann Petry. Any of these authors will be suggested for student consideration as possibilities for longer reading in the student-generated "second half" of the syllabus. I will also assign segments from Steinbeck and Faulkner, Melville, Douglass, and Harriet Jacobs as alternative samples for more canonical historical literature. We will then vote on a contemporary novel and a more traditional novel (or two, depending on length) to be studied later in the term. Options for evaluation will include weekly quizzes or one page critical responses as "short" assignments and traditional choices between analysis, comparison, and close reading in two 3-5 page papers as "long" assignments. Either category could be combined with student presentations on particular works or authors. (O'Brien)

Section 003. This course is an introduction to fictions which explore the most human experiences of joy and pain, fear and courage and the just as human means of covering them up. By reading three novels and a number of short stories, this class will consider how fiction drapes its concerns and the concerns of its characters with language, nuance, and even plot. We will ask ourselves how the fictions determine our reactions, and how we can find room also to react in our own ways. We will explore the ways fiction differs from, imitates, complicates, and conjures up life. We will read three novels: Their Eyes Were Watching God, by Zora Neale Hurston; Wide Sargasso Sea, by Jean Rhys; and Orlando, by Virginia Woolf. We will also study short stories by such diverse writers as James Baldwin, William Faulkner, Jean Toomer, Flannery O'Connor, Isaac Bashevis Singer, Louisa Levinson, Amy Tan, Elizabeth Bowen, James Joyce, and Neil Jordan. There will be weekly response papers, one short (4-6 pp.) essay and a final longer (8-10 pp.) paper. (Linett)

Section 004 The Home and the World. Can one ever return "home" as Kazuo Ishiguro's and David Leavitt's characters attempt to do? Can you take "home" with you if forced to flee Nazi Germany for England as those in Jonathan Wilson's "Boxes From Shanghai" must? In this course we will discuss these issues and the concept of home in relation to some literature written in Britain and its former colonies. We will pay particular attention to the ways in which where one lives is linked to questions of who is "civilized" and who is not, who is "English" and who is not, and also to the ways in which the house is connected with issues of race, gender, sexuality, and class. Requirements: Writing (three papers, two short and one longer), participating (actively), and thinking (constantly). Readings: Brontë, Wuthering Heights; Dangarembga, Nervous Conditions; Forster, Howard's End; Ishiguro, "A Family Supper"; Leavitt, "Territory"; Lessing, The Grass is Singing; Mphahlele, "Mrs. Plum"; and Wilson, "Boxes from Shanghai," among others. (Kodesh)
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239. What is Literature? Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
This class is designed to stimulate your thought about issues that should prove central to all your subsequent engagements with literature, inside and outside the classroom. The course is designed to help you formulate productive questions about the nature of literary study and the changing meanings of "literature" itself. Often ranging over a wide variety of genres and historical periods, sometimes including the study of film or other visual arts, 239 asks students to consider texts in a comparative, analytical light. Sections of 239 often devote some time to talking about the social and historical forces that shape a culture's ideas of what constitutes literature. Students in 239 also often address questions of literary value and evaluation. Though discussions often prove theoretical in nature, they are usually tied to particular texts. 239 is designed to help students develop skills that will be crucial to further work in the English concentration: discussion, writing papers about texts, reading critically and with an eye for detail.

Section 001. What does it mean to be an author, to create a story? To figure that out, we'll be authors ourselves a little and ask about our own responses as readers. We'll read texts closely, attempting to understand their less accessible meanings, the effect of the social and economic context in which they are written and read, and what's at stake for us, if anything, in the content. We'll be interested in the social purposes of literature and in questions of authors' responsibilities. We'll read or view The Official Story, Interviews with My Lai Veterans, Wiesenthal's The Sunflower, Coetzee's Age of Iron, Thomas' The White Hotel, Kingsolver's Pigs In Heaven, Washington's Iron House, Cervantes' Emplumada, and Shange's "spell #7." Class participation will be important, and you'll write 25 pages worth of essays and literature, the nature of which we'll determine together. No exams. Cost:3 (Alexander)

Section 002. Our class will think about how the act of telling stories creates power in the individual and strengthens the connectedness among people. For example, a character in Ursula Hegi's Stones From the River thinks: "Every time I take a story and let it stream through my mind from beginning to end, it grows fuller, richer, feeding on my visions of those people the story belonged to until it leaves its bed like the river I love. And then I have to tell the story to someone." Our readings will often focus on the dynamics of the imaginative process our own as well as the author's. We should find ourselves grappling with issues as basic as what defines the dimensions of a character and how an author prepares these amazing creations to "speak" to us, to tell their stories. Although the complete syllabus decisions are yet to be made, I'm sure the following novels, among others, will help us unfold the ingenious visions of those who seek to "tell us their stories": French Lieutenant's Woman; A Prayer For Owen Meany; Alias Grace; and Stones From the River. (Back)

Section 003. "There's no there there," Gertrude Stein dismissively about her hometown (Oakland, California). So, nearly a century ago, she set out for Paris and became famous. For her, there was elsewhere. Too often, I think, Michiganders fail to see there's a here right here, a place that writers have used as the foundation for literary invention. So in our search for answers to the question that titles this course, we will read writers who have made our part of the world into fictional worlds. We will read novels and short stories by Sherwood Anderson, Charles Baxter, Theodore Dreiser, Stuart Dybek, Jim Harrison, Sinclair Lewis, Alice Munroe, Toni Morrison, and Richard Wright. A midterm, final, and a series of 3-5 page papers will be required. We will learn about literature by writing and talking about it. (Bailey)

Section 004. (Honors). This course will address the question of why and how we read literature, not by providing an answer to "what is literature?" but by considering the historical and cultural implications of reading. Why do we tell stories? Who decides what stories should be told when and which ones should be told again and again? How do we decide what stories mean? The course will introduce students to the purpose and function of literary criticism as well as to an understanding of how we are everywhere interpreting signs that involve a process of "reading," from fashion items to sports events. Readings will include various literary critical approaches to a classic text, a film adaptation of a novel, a 20th century rewriting of a 19th century text and a story based on a real event. Writing assignments will include response papers, a literary critical essay and a take-home final. (Herrmann)

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 and writers, as well as examine closely a variety of texts. Texts will include long and short fiction, drama, film, poetry, and critical essays, drawn from a wide range of cultures and historical periods. Among other works we will read Dorris, A Yellow Raft in Blue Water; Morrison, Beloved; Silko, Ceremony; Forster, A Passage to India; Shakespeare, King Lear and Twain, Huckleberry Finn. There will be frequent writing of short pieces and a final examination. Cost:3 (Howes)

Section 006. What follows when we consider The Word and the World that it produces as creations of (i) God or Allah, (ii) William Shakespeare or Confucius, (iii) Walt Disney, or (iv) F. Scott Fitzgerald and Grazia Deledda? What kinds of flexibility do WE have to discover meaning in, or control the value of, "books" produced by such users of the word? How does author relate to authority; and what roles do power and relevance play when we ask the question, "What is literature?" We'll get under way with a discussion of two chapters from two books: Ariel Dorfman's The Empire's Old Clothes: What The Lone Ranger, Barbar, and Other Innocent Heroes Do To Our Minds, and Phyllis Trible's Texts of Terror: Literary-Feminist Readings of Biblical Narratives. Thereafter, con/texts from a variety of cultures will help us along as we explore who has the power to persuade us that some con/texts are "classics" while others have to do with "trash." There will be individual reports on the readings; two five-page papers, and a final comparative essay project. (Johnson)

Section 007. This course is an introduction to literary studies, rather than an introduction to literature. Our primary task will be to develop interpretive strategies for reading a wide variety of cultural texts (including both the "literary" and the "popular.") The reading will include fiction, literary and cultural theory, and criticism. We will ask questions about the social and political meanings of authorship as these meanings change over history; about the social functions of literature in changing historical situations; about the relationships between "high" culture and popular culture; about the importance of social relations in thinking about the way texts are read and received. TENTATIVE Reading: Melville, Benito Cereno; Gilman, The Yellow Wallpaper; Glaspell, Trifles; Williams, Dessa Rose; Erdrich and Dorris, The Crown of Columbus; DeLillo, White Noise; Hagedorn, Dogeaters. Requirements: Attendance, vigorous class participation, frequent short writing assignments, group presentation, two 4-5 page papers, and one 6-8 page paper. (S. Robinson)

Section 008. If literature is always historical, in that it arises from and speaks to a particular culture in time and space, how do we respond to works of literature that weren't written with us in mind? What does it mean to study an ancient text? To read it for pleasure? Can we appreciate an ancient work on its own terms, without judging it from a contemporary perspective? In this section of English 239 we will be reading works from the past (selections from The Iliad, Le Morte D'Arthur, and King Lear beside contemporary novels that either recreate past worlds (Christa Wolf's Cassandra, Bradley's Mists of Avalon) or enable us to interpret present conditions in terms of the literary past (Smiley's A Thousand Acres). There will be a reader containing various essays in literary theory. Plan on two short papers and one longer term paper. (Tanke)

Section 009. Our focus will be fiction and drama, our readings, some of the most innovative, engaging representations of these genres, our goal, the enhancement of reading pleasure that current methods of literary analysis invite. To organize our study, I have arranged clusters of interrelating texts in which writers with differing purposes, from different cultures, work with the same subject, defining evil. Shakespeare's Richard III, Tey's Daughter of Time, Pacino's Looking for Richard, and McKellen's, Richard III will allow us to consider our subject through the prism of genre and questions of historical and literary truth. Fowles' The French Lieutenant's Woman, Morrison's Sula, and James', Washington Square will situate our study of evil in particular times and places. Warren's All the King's Men, O'Brien's In the Lake of the Woods, and Roy's The God of Small Things will offer a context for questioning the relationship between narrative, evil, and the emerging self. (Wolk)

Section 011. What pleasure or profit do we seek from texts that advertise themselves as "literature" (as opposed to other texts)? Is there such a thing as enduring literary value? If so, how can we identify it? According to prominent literary critic Terry Eagleton, "Literature, in the sense of a set of works of assured and unalterable value, distinguished by certain shared inherent properties, does not exist." In this course, we will test Eagleton's provocative thesis against works of fiction, drama, and memoir drawn from both inside and outside the canon of "great literature" to see if we agree with him. Our reading list will include Shakespeare's King Lear, Jane Austen's Emma, Sigmund Freud's Dora, D. H. Lawrence's Sons and Lovers, Frederick Douglass' Narrative of the Life of Frederick Douglass, An American Slave, Maxine Hong Kingston's The Woman Warrior, Virginia Woolf's Mrs Dalloway, and Tim O'Brien's In the Lake of the Woods. Written assignments will include a midterm, final, and two 5-6 page essays. Please note that attendance and vigorous class participation are requirements of this course. (Sofer)

Section 012. This section is restricted to students of the Lloyd Hall Scholars Program. This course will explore the elusive nature of literature. We will try to find (or create) the "truth" about literature and its interpretation. A main focus will be the narrative perspective, or point of view, from which literary discourse flows e.g. the reliability of narrators and the extent of their power over the reader (and other characters or voices). We will also broaden our discussion to the ethics of narrative situations in general. Issues of narrative authority will be linked to your own writing to foster more informed and effective rhetorical strategies relating to purpose, style, and evidence. In addition to studying a variety of literary genres and historical contexts, we will investigate some "literary" characteristics of painting, sculpture, and film. Assignments will include group discussions, several exploratory reactions (1-2 pages), two short analysis papers (3-4 pages), a longer argumentative paper (6-8 pages), and a final exam. (O'Keefe)

Section 014. This section of "What is Literature?" focuses on the ways in which literary texts can be seen to rewrite, reinterpret, and respond to one another. Beginning with the assumption that it is very difficult if not impossible to pinpoint the original creator of any narrative, trope, or theme, we will instead consider authors as figures who borrow from, transform, and play off each other's efforts. Focusing on pairs of related texts, we will read William Faulkner's Absalom, Absalom! alongside Toni Morrison's Beloved, both of which examine race, history, and the power of the dead; Charlotte Brontë's Jane Eyre and Jean Rhys' Wide Sargasso Sea, which address women's place in society; George Bernard Shaw's Pygmalion and David Mamet's Oleanna, which explore the power relations between teacher and student; and Joseph Conrad's Heart of Darkness and Francis Ford Coppola's film Apocalypse Now, which problematize the concepts of civilization and barbarism. Coursework includes 3 papers and 5 quizzes. Cost:2 (Egger)
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240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001.
Poetry is a game and a source of pleasure, and to understand a poem fully, just 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. Cost:1 (Cloyd)

Section 002. In this course, we shall study closely a variety of poems written in English from about 1600 to the present. The task of the course is a pleasurable and progressive understanding of how poems work, that is, what techniques poets use to articulate their visions of experience. We shall pay close attention to the language, forms, figures, and themes of verse, to literary-historical conditions that influence poetic craft, and to the intertextual connections that create constellations of poems across the centuries. The textbook, Norton Introduction to Poetry (sixth edition) by J. Paul Hunter, will be our chief reading, in addition to handouts. Because this is a discussion class, regular attendance and participation are required. Other requirements include a series of short papers, supplemented by a reading journal, a midterm, and a final examination. Cost:1 (Goldstein)

Section 003. An introduction to poetry: its traditional forms, themes, techniques, and uses of language; its historical and geographical range; and its twentieth century diversity. The course will include discussion of oral and written traditions, and the place of performance in contemporary poetry; the kinds of power (from the magical to the political) which have often been associated with poetry; the relationships between secular and sacred traditions in poetry; and the varying roles of audiences and readers in the traditions of poetry. There will be discussion of the function of historical and national categories, as well as those of race and gender and class. (Goodison)

Section 004. English 240 is a prerequisite for the English concentration. Class work will be devoted to close reading and the discussion of poems presented by you as the result of your personal selection from The (Shorter) Norton Anthology of Poetry. With the help of John Hollander's Rhyme's Reason: A Guide to English Verse, we shall be looking at prosody the techniques of verse, how poems are put together and how they work. We will also acquaint ourselves with historical and generic styles, relating British and American poems to their psychological, sociological and ideological contexts and trying to answer such questions as WHO wrote WHAT, FOR WHOM, HOW WHY and IN (more or less conscious) IMITATION OF WHOM? In each case, however, our highest priority will be to try to reach a consensus about what makes the chosen poems valuable in themselves and to us all as works of art as well as being valuable historical documents. There will be a midterm, a short paper or two, in-class exercises, and a final. The option of writing poetry as well as analyzing will be yours throughout the course. (Edmonds)

Section 005. "Because You Asked about the Line between Prose and Poetry"
Sparrows were feeding in a freezing drizzle
That while you watched turned into pieces of snow
Riding a gradient invisible
From silver aslant to random, white and slow.

There came a moment that you couldn't tell.
And then they clearly flew instead of fell.
- Howard Nemerov

The examination of poetry's flight > the how of its motion, the source of its wings, the roles of craft, form, tradition, and rupture in creating the air that allows individual poems flight > will form the basis of our reading and discussion. We will read widely, across centuries of poems and poets, and closely, within poems and within two volumes by contemporary poets. Always, we will privilege language, one actual word at a time, as the source of both our subject and our inquiry. Coursework includes 3 papers, two in-class examinations, and an oral presentation. Required texts, available @ Shaman Drum Bookstore: An Introduction to Poetry, XJ Kennedy & Dana Gioia, eds., My Alexandria, Mark Doty, The Dream of a Common Language, Adrienne Rich. (Kremer)

Section 006. (Honors) Is poetry a different language? Why does it sing to us, resist us, move us to a place where words either sting or seem solid, like stone? Does poetry have a politics? Why does it invoke, so consistently, dreams of a female muse, of carpe diem, of male mastery? How have Western expectations of "the poetic" changed over time? In this course we will examine four centuries of English, Afro-American, and Anglo-American poetry, with an emphasis on form (that is, on defining traditional poetic forms and seeing how they have changed over time) and on the relations between form and culture. There will be in-class writing, two papers and two exams. (Yaeger)

Section 007. The focus of this course will be on the interplay of orally performed poetry and written/published poetry. Why are stores told in poetry? how does the sound of a story turn into verse? why would a poet choose rhyme? and how does the process of writing and revision end in what we will learn to define as poetry? The class will consider many genres and forms of poetry from nursery rhymes to ballads to epics to lyrics to songs to song lyrics. Political protest has, over the centuries, found its voice in oral and written poetry. How does poetry facilitate the telling of these too-long-silent stories? Does it? Where is the sound of poetry in contemporary cultures? The writing in the class will consist of frequent two-page papers on the poems or the poetic and critical devices and `divisives' discussed in class. This class will be composed of written and oral endeavors, so students will be expected to engage as private writers and as classroom participants. (Skantze)

Section 008. A course in ways to understand, feel, enjoy, evaluate, and interpret poems. Poetry differs from ordinary language and from prose in certain fairly conventional and (for poetry) advantageous ways, and we shall try to understand how it does so. As we look at and hear poems, we shall consider such things as sound, diction, rhythm, figures of speech, the line, form, and genre, authorship, audience, and context. Our readings will come from various cultures, old and now; most readings will be British and American, most of these recent or contemporary. We'll pay some attention to the histories of poetry, and try to get a feel for the contemporary poetry scene. Texts: an Introduction to Poetry book, and an anthology, both in course pack form. Everyone will write three essays on increasingly challenging topics. There will be a test on "technical terms," another on the course readings, and a final exam asking for the interpretation and evaluation of some new poetry. (M. Smith)

Section 009. The aim here is to enhance our enjoyment of poetry. How poetry uses language uniquely, how rhythm, rhyme, and meter give pleasure and highlight meaning these are some of the subjects we will study, along with metaphor and other kinds of figurative language. We will also examine how a poem means one thing by saying something different (irony). Most Wednesdays a short quiz will be given on details of what we have been studying. These quizzes and other brief assignments will count for 25% of your total grade. You will also be assigned the occasional two-page paper, one five-pager, and a take-home final. Textbooks: Elizabeth Bishop, The Complete Poems: 1929-1979. Seamus Heaney, Selected Poems: 1966-1987. Seamus Heaney & Ted Hughes, The Rattlebag. Also a short course pack. Cost:2 (Tillinghast)

Section 012. "Should poets bicycle-pump the heart
Or squash it flat?
Man's love is of man's life a thing apart;
Girls aren't like that."

This course will introduce you to the way poets write, and how ballads differ from blues. To begin with we shall concentrate on some of the greatest love-poems in the language, looking at how emotional effects are gained, how rhyme and rhythm work, and what makes a poem memorable. We shall fall in love with Shakespeare, be faithful to Anne Bradstreet, seduced by Andrew Marvell, flirt with Lord Byron (recognize the third line?), appreciate Oscar Wilde, tense up with Sylvia Plath, fall apart with Robert Creeley, and check out the latest rap. Later on we shall look at poems celebrating American places and creeds, as well as poems of your own choice. You will read, write, and dream poetry. Not only do you need this course for your English concentration, you will also learn the above verse by heart before appearing at our first session. Course requirements: four 3-page poetry appreciations (each counting 10%) incl. 1 mid-term mock exam; one 6-page paper (counting 20%); Some creative writing (counting 10%); Final exam early December (counting 30%). Course books: The Short Norton Anthology of Poetry; John Hollander, Rhyme's Reason (Yale Univ. Press 1989) (Broadbridge)

Section 013. This course will provide an introduction to poetry, focusing on poems from a wide range of traditions and historical periods. The aim of the class is to equip you to enjoy, understand, and analyze poetry. To this end, we will read poetry aloud, memorize it, and discuss it at length and in detail, attending closely to language. We will consider aspects of poetry such as tone, sound, form, and figures of speech. We will also address themes, tropes, and intertextuality. Course requirements include active participation in discussion; some memorizing; frequent, brief response papers; three papers (3-5 pages each); and an in-class presentation. (Warren)
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245/RC Hums. 280/Theatre 211. Introduction to Drama and Theatre. No credit granted to those who have completed or are enrolled in RC Hums. 281. (4). (HU).
See RC Humanities 280. (Cardullo)
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267(326). Introduction to Shakespeare. Completion of Introductory Composition. (4). (HU).
In this section of English 267, students will read several of Shakespeare's plays and a sampling of criticism designed to illuminate them from a number of angles. Lectures will be focused in part on matters of stage presentation and in part on matters of critical history. Taken together, these approaches should enable us to see how the play texts continually re-form themselves in response to pressures from both the stage and the study. I will be choosing plays from every period of Shakespeare's career and from most of the genres in which he worked. Students will be expected to write three or four short response papers and one major essay, participate in a group project, attend class regularly, join in daily discussion periods, and successfully complete a final examination. (Jensen)
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270. Introduction to American Literature. (3). (HU).
Section 001 The American Experience.
One of the major themes in American literature is the "Americanization" of members of the various racial, religious, and ethnic groups within American society. This section of English 270 will follow the theme of Americanization beginning with pieces from Nathaniel Hawthorne, one of the writers in the traditional American canon, and continuing with novels and short stories from other American voices and talents including women, Chicano, Asian-, African-, Native- and European-American writers, selections which more fully represent "American" or United States literature. The class will be a mix of lecture and discussion and all students are expected to read and be fully prepared to discuss the works in class and on COW, a computer conferencing system on the Web. Requirements also include a final and a 6-8 page paper. Cost:2 (Kowalski)
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274/CAAS 274. Introduction to Afro-American Literature. (3). (HU).
This course will introduce students to some of the major writers of the African American literary tradition (e.g., Wheatley, Douglass, Jacobs, Hopkins, DuBois, Ellison, Morrison.) Works will be drawn from the late 1700s to the present, and we'll be reading widely (e.g., poetry, novels, autobiography, political essays, etc.), and textual discussions will be augmented with one, possibly two film showings. As we study this material, we'll be considering the following: What does a Black literary canon look like? What has allowed or hindered its formation? What has its impact been on "American" literature? What kinds of assumptions are we as modern readers bringing to the material? What kinds of self-conscious, critical questions about aesthetics, literary history, and the politics of writing should we bring to the material? Grades will be based on regular class attendance, reading quizzes, two in-class exams, and a six-page paper. (Gunning)
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285. Introduction to Twentieth-Century Literature. (3). (HU).
To give focus to an impossibly broad subject 20th century literature - I have turned to Sweden for help, to the Nobel Prize Committee. Why not, thought I, select works by the century's Nobel winners in literature? So I have, mostly (although not exclusively) those who wrote in English, as befits an English course. We'll study works, then, mostly novels, but a few poems and a couple of plays, by Shaw, Yeats, Thomas Mann, Eugene O'Neill, T.S. Eliot, Faulkner, Hemingway, Camus, Steinbeck, Saul Bellow, William Golding, Nadine Gordimer, Toni Morrison, and Seamus Heaney. Grades will be based on three hourly exams and frequent, short, in-class writing assignments. Cost:2 (Beauchamp)
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100- and 200-level



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