Fall '99 Course Guide

Courses in English (Division 361)

Fall Term, 1999 (September 8 December 22, 1999)

Take me to the Fall Term '99 Time Schedule for English.


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).

WRITING COURSES:

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:

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 Winter Term 1998 is January 16, 1998.

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 the time of Milton, that is; the second term will begin at that point and proceed to the present. These courses will be open to English concentrators and to non-concentrators alike.

English 370, 371, & 372

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 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.


Engl. 217. Literature Seminar.

Section 001 The Memoir as Art and Remembrance

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

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU).

Credits: (3).

Course Homepage: No Homepage Submitted.

The art of the author's personal memory, whether taking the form of autobiography, fiction, drama, or film, has found great favor in recent years. Examples from several genres will help us study the importance of memory and the artistic forms it can take. We will try to determine what these varied works have to say about the individuals recalling their life and times. Possible authors and filmmakers: Russell Baker, Philip Roth, Eva Hoffman, Frank McCourt, Geoffrey Wolff, Tobias Wolff, Margaret Atwood, Woody Allen, Federico Fellini. About seven books and two films; I will post the list outside my office (3180 Angell Hall) before the beginning of the Fall Term. 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) about the nature and importance of remembrance.

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Engl. 217. Literature Seminar.

Section 002 Writing Women's Lives: Twentieth Century Narratives

Instructor(s): Kelly Ritter (kritter@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU).

Credits: (3).

Course Homepage: No Homepage Submitted.

This sophomore-level course will focus on the way in which women write about their own lives and the lives of other women in novels, short fiction, poetry, and film. We will examine a variety of texts from the twentieth century, both in the U.S. and the U.K. Working roughly chronologically, we will ask, what constitutes a "woman's" narrative? How do these women writers "fit" into the existing literature canon, and to what end? Do women writers utilize language differently than their male counterparts, and if so, with what results?

Tentative texts for the course include the novels Marilynne Robinson's Housekeeping; Kate Chopin's The Awakening; Virginia Woolf's Mrs. Dalloway; and Angela Carter's Nights at the Circus; Susan Minot's short story collection Lust; poetry by Anne Sexton (either Live or Die or Transformations); autobiographical writings by contemporary women writers in the anthology Writing Women's Lives; and Jane Campion's film The Piano. We will also look at some recent poetry criticism, including portions of Writing Like a Woman. Work for the course will include several reading responses (likely postings to a listserv), three papers of 3, 5, and 6-8 pages, an in-class presentation, and a final exam. As this is a seminar, regular attendance and regular participation is expected from all students.

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Engl. 223. Creative Writing.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 002.

Instructor(s): Hui-Hui Hu (hhui@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

This introductory creative writing course will explore ways of seeing in verse and prose. More than making comparisons, good writing shapes the subject, distorts, makes ugly, praises. By the end of the term, you should be able to turn water into wine and back. We will read fabulists such as Calvino, Simic, García Márquez, and Tate, and consult old masters such as Rilke, Chandler, and Carver; students will be asked to bring in the work of their own favorite contemporary authors and their concerns about writing. There will be a slightly greater emphasis on poetry than fiction. We will discuss your writing in a workshop setting, but always in relation to the craft of writing as a whole. I will ask you to write approximately ten poems and 15-20 pages of fiction, to attend at least two readings by visiting writers and keep a working journal.

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Engl. 223. Creative Writing.

Section 004.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 006.

Instructor(s): Lynne Stanley (stanleyl@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

How do we employ language to articulate what we feel and know? This course will focus on nurturing the beginning writer's voice. Careful attention will be paid to developing clarity of expression in poetry, fiction, and creative non-fiction, as well as exploring musicality and meter: the various pleasures of language. We will sample widely from a variety of poems, essays, and stories to excite and stimulate the creative process. Mark Doty, Anne Carson, Rumi, Marie Howe, Michael Cunningham, Patricia Powell, Amy Bloom, and Bernard Cooper are some of the poets and authors we will be reading. Class time will consist of close, compassionate, critical reading of student work, writing excercises, and informed discussion of published texts and issues of craft. In addition to reading assignments, students are responsible for midterm and final portfolios (6-8 revised poems in the first portfolio and 20-25 pages of prose in the second), weekly writing assignments, a student-teacher conference, and consistent class attendance. There will be no final exam. Required texts to be announced.

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Engl. 223. Creative Writing.

Section 007.

Instructor(s): Paul Barron (pdbarron@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

In this introductory creative writing course, you will be encouraged to explore the ideas that move you the most and to discover the additional rewards of revision shaping each piece in the hope of moving your readers. We will employ occasional in-class exercises to help turn your observations and experiences into lines, stanzas, images, characters, settings, scenes, and drafts. Most of our time will be spent in workshop, giving and receiving thoughtful criticism on student work; however, we will reserve the beginning of each class to discuss the basic techniques of fiction and poetry in the context of assigned readings by authors such as Dybek, Endrezze, Goldbarth, Hurston, Malamud, Paley, Pritchett, Walcott, and Welty. By the end of the term you will have completed and revised 5-10 pages of poetry and 25-30 pages of fiction. Other requirements: class attendance; active participation; and attendance at two public readings.

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Engl. 223. Creative Writing.

Section 009.

Instructor(s): Allison Liefer (aliefer@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

In this introductory creative writing course you will apply the techniques of fiction and poetry (with an emphasis on poetry) to the task of mining your observations, experiences, and imagination for creative material. Your aim: to uncover your emerging voice as a writer. Besides workshopping one another's poems and stories, we will be reading from a slew of contemporary authors to get a sense of the literary climate your work will be part of. We will also spend time discussing the various elements of craft and experimenting with writing exercises. Requirements include writing and revising fiction (15-30 pp.) and poetry (5-8 poems), class attendance and participation, keeping a writing journal, and attending a public reading in each genre.

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Engl. 223. Creative Writing.

Section 010.

Instructor(s): Nicole Johnson (nicolej@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

The goal of this course is to provide a dynamic environment to fuel your imagination. As the poet Stanley Kunitz once said: "I'm a physical being and resent this sedentary business of sitting at one's desk and moving one's wrist. I pace, I speak my poems, I get very kinetic when I'm working." In our explorations into the vigor of the English language we will mine the dramatic monologue, musical trends, and the visual arts for inspiration. The vitality of your personal process will be at the core of this workshop, the life of your words both on and off the page our central concern. Course requirements: a portfolio of revised work including 6-8 poems; one short-story; a short dramatic monologue; a multi-media project; and a response paper on a public reading, performance, or exhibition.

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Engl. 223. Creative Writing.

Section 011 The American Voice

Instructor(s): Liesel Litzenburger (liesell@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

This is an introductory writing workshop in the forms and techniques of fiction and drama. Throughout the term, we will read, write, and thoroughly consider the many sub-genres of these forms: the short story; the personal narrative; the dramatic scene; the classic stage play; its contemporary scripted cinematic interpretations. The basic elements of fiction and drama voice, theme, structure, dialogue, language, etc. will be studied and applied throughout via a variety of craft lectures, exercises, and assignments. We will focus primarily on the works of American writers and dramatists from early traditions to the contemporary writing landscape in this country but the main text for our course will be the writings created by members of our class. Gaining skills as a writer takes practice. Our time will be devoted to developing a creative community of writers through in-class workshops, group discussions, and careful editing and revision of our work. Final portfolio, minimum of forty revised pages required.

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Engl. 223. Creative Writing.

Section 012.

Instructor(s): Jason Kirk (jckirk@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

By way of inspiration we will read and discuss poetry, fiction of varying length, and some creative non-fiction by writers of vastly differing backgrounds different ages, parts of the world, and languages though all we read will be rendered into English. Writers you wish to share and discuss with the class will find a place in our generative syllabus. Even so, the course focuses primarily on our own attempts at writing and what these efforts engender: 7-10 revised poems, 20-25 pages of revised fiction, one creative essay. A "finished" product implies polish and completion, a suspicious lack of open ends which we will look upon with no small distrust. Let nothing be settled, nor settled for. Class will consist mostly of workshops, discussion, and suggestion with regard to each other's work, always in progress. Additionally, everyone will attend two readings and write short responses. Bring your enthusiasm for the English language and its insatiable possibilities.

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Engl. 223. Creative Writing.

Section 014.

Instructor(s): Diane Chang (diachang@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

This goal of this introductory creative writing course is to bring your unique experiences, observations, and passions to bear on the craft of writing. In doing so, we will put both your creative and critical minds to use through the writing and critiquing of poetry and fiction. Although the focus will be on workshopping each other's work, we will also read and discuss work by authors such as Ernest Hemingway, Flannery O'Connor, Gabriel García Márquez, Junot Díaz, Elizabeth Bishop, Rita Dove, Yusef Komunyakaa, and Philip Levine. The course will start off with short writing-exercises and then follow up with fiction and poetry components. Requirements include a final portfolio of revised work (including 6-8 poems and 20-25 pages of fiction) and attendance at several public readings. Class attendance and participation are essential.

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Engl. 223. Creative Writing.

Section 016.

Instructor(s): Peggy Adler (adlerp@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

In this class we will write to gain understanding and mine what moves us. You can come with ideas for stories and poems or none at all. We will learn to develop characters and allow them to tell us the story, develop voices and personae that speak the poem. All you need to take this class is the desire to write. The class will focus on student writing and function as a workshop discussion-group with students paying close, critical attention to each other's work. In addition to learning from each other we will discuss stories, passages, monologues, and poetry by authors including Raymond Carver, Toni Morrison, Michael Ondaatje, Chekhov, Neruda, Anna Deveare Smith, Rilke, Amy Hempel, Ethan Canin, and Alice Munro. If there is a particular writer you want to discuss in class you are welcome to share the work that inspires you. Students are responsible for reading assignments, midterm and final portfolios (15-page minimum for each, the final including revisions), weekly writing exercises, attendance at a fiction and poetry reading, and consistent class attendance.

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Engl. 223. Creative Writing.

Section 018.

Instructor(s): Jennifer Lutman (jlutman@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

In this workshop you will be encouraged to write poetry and fiction as a means of discovery. My goal is to help you help each other in the processes of creation, exploration, and revision, and so the majority of in-class time will be devoted to sharing ideas and offering responses to one another's work. Other class activities will include writing exercises and discussion of assigned readings of authors such as Carson McCullers, James Baldwin, ee cummings, Rita Dove, and Adrienne Rich. Always our emphasis will be on your writing, and by term's end you will have submitted 5-10 poems and 2-3 stories for a combined minimum of thirty pages. You will be required to submit midterm and final portfolios of your poetry and prose and attend an exit conference with me. Grades will reflect your commitment to achieving course and personal goals for your writing, and you will provide evidence of this commitment through the timely submission of work, care and effort in revision, active class participation, and completion of readings.

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Engl. 223. Creative Writing.

Section 019.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 020, 025.

Instructor(s): Maureen Aitken (aitkenm@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

This introductory course will focus on play writing and fiction, with an emphasis on fiction. We will consider techniques such as tone, pacing, and characterization in our readings of fiction and plays. We will also talk about how published writers such as Alice Munro, Alice Walker, and William Trevor use dramatic need and economy in their writing. Students will learn process techniques for writing short stories, short shorts, and plays. Course requirements include a minimum of thirty-five pages of revised fiction, and a 5-10 page scene. Strong participation and attendance to one public reading are also required.

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Engl. 223. Creative Writing.

Section 021.

Instructor(s): Alex Ralph (ralpha@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

Katherine Anne Porter was rumored to write without once revising a word. For the rest of us, unfortunately, good writing isn't so easily achieved. While this course may not transform you into the next incarnation of Porter or Raymond Carver, Junot Diaz, Rita Dove, Bernard Malamud, Martin Espada or any of the authors and poets we'll read with a combination of hard work, thoughtfulness, and a commitment to honest, heart-felt writing, all of you will hopefully become improved writers. Class will be conducted in workshop format with readings and discussions of each other's work. The requirements two revised stories equaling 25-30 pages, 5-10 pages of poetry, active participation and attendance, and thorough engagement with the assigned readings are designed to facilitate and encourage you in your writing pursuits.

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Engl. 223. Creative Writing.

Section 022.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 023.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 024.

Instructor(s): Kelly Ritter (kritter@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

In this section, we will focus our attention on writing poems and short fiction. The course will be divided into two parts. In part one, we will examine the terminology and techniques of poetry writing, completing a series of exercises eventually leading to complete poems. In the second half of the course, we will examine fiction writing techniques in a similar fashion. Throughout the term, we will read recent American poetry and short fiction for discussion and analysis. To this end, students should expect to purchase one to two moderately priced anthologies/writing guides (titles TBA) and should expect to keep informal reading logs from which we will generate our class discussions.

This section of 223, like many others, also emphasizes the importance of revision. All writers revise, even the "famous" ones. As a result, course grades will be based heavily on revision done as a result of instructor and/or class comments and suggestions given in large group workshops. Specific course requirements include: one quiz on poetry terminology; three to four poetry exercises leading to five complete poems, all of which will be revised and compiled in a midterm portfolio; three exercises on fiction writing techniques, and two short stories (10-20 pages total), which will be revised as part of a final portfolio; attendance at and review of at least two public readings on campus or in the Ann Arbor area; and one critical analysis (academic paper) of a book of poetry or fiction of the student's choice. Attendance and participation, which are crucial to the workshop structure of this section, will also be a factor in final grades.

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Engl. 223. Creative Writing.

Section 025.

Instructor(s): Maureen Aitken (aitkenm@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

See English 223.020.

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Engl. 223. Creative Writing.

Section 026.

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

No Description Provided.

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Engl. 223. Creative Writing.

Section 027.

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

No Description Provided.

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Engl. 225. Argumentative Writing.

Section 006, 007 Styles of Reasoning

Instructor(s): John Young (jkyoung@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

This course examines what counts as an effective argument for writers from various disciplines. Our reading assignments which will also serve as springboards for student writing will cover such topics as race relations, gendered images, advertising, popular culture, and theories of language. We will look closely at the elements of effective arguments, including standards of evidence, the provision of warrants, and the rigorous use of language. Requirements include four 5-7 page papers, with revisions and workshopping, frequent shorter assignments (of a page or so), and regular class participation.

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Engl. 225. Argumentative Writing.

Section 009.

Instructor(s): Dennis McEnnerney (dennismc@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

No Description Provided.

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Engl. 225. Argumentative Writing.

Section 014, 028.

Instructor(s): Miriam Burstein (meburste@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

This course will hone your skills in constructing persuasive arguments: that is, taking a position, expressing it logically, and supporting it with evidence. To that end, we will read, discuss, and write about essays on a subject immediately relevant to your college career what is the meaning and purpose of education? Our texts will be chosen from authors writing in a variety of genres (from newspaper opinion piece to philosophical analysis) and from a variety of political perspectives (from conservative to radical). Requirements: four essays of varying lengths; in-class exercises; workshop; and discussion participation. As you may expect, regular and punctual attendance is necessary for a passing grade.

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Engl. 225. Argumentative Writing.

Section 027.

Instructor(s): Allan Cook (arcook@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

Popularly, argument involves demonstrating a valid point through reasoned presentation of sufficient evidence. While true enough, this definition constructs argument as confrontation and contest, overlooking the possibility of logical, ethical, and cooperative process. Rather than reserving argument for combatants like lawyers and philosophers, we need to recognize it as an integral part of our thinking process that informs all writing tasks. When we move from voicing simple, untested opinion to openly and honestly evaluating the bases for those opinions, we are engaging in argument. In this course, you will develop such an approach examining your own positions on a social issue of import to you and then testing your claims in a deeper exploration in concert with other students as you negotiate an argumentative presentation. Building on the basic skills of your first-year composition class, you will write a series of arguments that observe, explain, evaluate, convince, negotiate, and persuade, and a final reflective portfolio. Course assignments include five written arguments and revisions ranging from a two-page exploratory essay to an 8-10 page persuasive essay, one one-page summary, an annotated bibliography of five articles, peer response letters, a collaboative class presentation, participation in weekly e-mail conversations, and a demonstration portfolio with a self-reflexive evaluation.

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Engl. 225. Argumentative Writing.

Section 028.

Instructor(s): Miriam Burstein (meburste@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

See English 225.014.

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Engl. 225. Argumentative Writing.

Section 032 RESTRICTED TO CSP STUDENTS

Instructor(s): Story

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

No Description Provided.

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Engl. 225. Argumentative Writing.

Section 033.

Instructor(s): D. Smith (sonsmith@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

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; responses to other students' writing; and a final portfolio consisting of selections of your best work from the term. Because classes are run as workshops and discussions, active participation is also mandatory.

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Engl. 225. Argumentative Writing.

Section 034 Studies in Black and White

Instructor(s): Troy Gordon (tpgordon@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU).

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

Course Homepage: No Homepage Submitted.

From what position do you speak, write, argue a point? Where do you get authority? How can one's own identity or experience help or hinder when making an argument? These general questions guide this course on argumentative writing. Specifically we will examine how various African-American perspectives offer powerful critique and commentary on white culture as well as black, on popular forms of representation, on law and legal reasoning, on the dynamics of social relations, and on what being an "American" means. We will analyze diverse work by James Baldwin, Patricia Williams, Langston Hughes, Nella Larsen, and filmmaker Cheryl Dunye in order to see not only how they make persuasive arguments through the use of language, evidence, narrative, and their particular medium of communication, but also how they articulate distinct yet varied positions of critique as African Americans in a dominant white culture. Required argumentative writing includes a fairy tale, a letter, an autobiographical piece, and two critical essays.

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Engl. 226. Directed Writing.

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

No Description Provided.

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Engl. 227/Theatre 227. Introductory Playwriting.

Section 001.

Instructor(s): Wendy Hammond (wham@umich.edu)

Prerequisites & Distribution: (3). (CE).

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

Course Homepage: No Homepage Submitted.

See Theatre and Drama 227.001.

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Engl. 227/Theatre 227. Introductory Playwriting.

Section 002.

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

Prerequisites & Distribution: (3). (CE).

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

Course Homepage: No Homepage Submitted.

See Theatre and Drama 227.002.

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Engl. 229/LHSP 229. Technical Writing.

Section 001.

Instructor(s): Scott Kassner (skassner@umich.edu)

Prerequisites & Distribution: Completion of the introductory composition requirement. (4). (HU).

Credits: (4).

Course Homepage: http://www-personal.umich.edu/~skassner/Eng229.html

See Lloyd Hall Scholars 229.001.

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Engl. 239. What is Literature?

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

No Description Provided.

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Engl. 239. What is Literature?

Section 001.

Instructor(s): Maureen Aitken (aitkenm@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

This section of "What is Literature?" will examine the interplay of love and authority. We will consider the dramatic needs of characters from a diverse set of readings, and analyze how their definitions of love tangle with authority figures. We will consider how these authority figures wield power through religion, war, patriarchy, and government. How are social class, ethnicity, and gender changing the nature of this struggle? Readings will include: Othello; 100 Years of Solitude; The Joy Luck Club; and The Good Soldier. Assignments will include regular response papers, a midterm, and a final paper. Participation is essential.

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Engl. 239. What is Literature?

Section 002.

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

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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.

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Engl. 239. What is Literature?

Section 003.

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

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

In this class we will want to think about the power and the connectedness that the act of telling stories might provide. For example a character in Ursula Hegi's Stones from the River thinks, "Every time I take a story and let it stream through my mind from beginning to end, it grows fuller, richer, feeding on my visions of those people the story belonged to until it leaves its bed like the river I love. And then I have to tell the story to someone." As the term continues and we discuss various 20th-century literature works (mostly), we will find ourselves grappling with issues as basic as what defines the dimensions of a character and the place that character makes in his or her world. We want to understand how an author has prepared these amazing creations to speak to us. Although the complete syllabus decisions are yet to be made, I'm sure we will want to select from the following authors: J. Irving, M. Atwood, G. Naylor, I. Allende.

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Engl. 239. What is Literature?

Section 004.

Instructor(s): John Gonzalez (jmgonzal@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

This course will consider the relationship between literary works and the social conditions of their production, centering upon questions of freedom, identity, and representation. Short narratives of the U.S. nineteenth century will provide the grounds for our examinations; authors will include Herman Melville, Nathaniel Hawthorne, Edgar Allan Poe, Frederick Douglass, Katherine Chopin, Henry James, Rebecca Harding Davis, Stephen Crane, and Sarah Orne Jewett. Emphasis will be placed upon the techniques, terminologies, and practices of interpretation, both in classroom discussion and in analytical essays; course work will include two major papers and weekly response papers.

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Engl. 239. What is Literature?

Section 006.

Instructor(s): Alan Howes (ahowes@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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 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; Woolf, Orlando or To The Lighthouse; Shakespeare, King Lear and Twain, Huckleberry Finn. There will be frequent writing of short pieces and a final examination.

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Engl. 239. What is Literature?

Section 007 World Literature in English

Instructor(s): Lem Johnson (eljay@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

English is spoken and written and re-invented in India and Ireland, Trinidad, the USA, and in England, of course. In addition, the language has also "travelled" with certain "master texts". Shakespeare and Coca Cola; The Authorized Version of the Bible; "Masterpiece Theater;" and CNN World News. There's also been the idioms and images of that come from how Australia or Canada has worked on "English". and the same is true of what West Africans have done to the package. There is also the question of what such musical forms as "Calypso" and "Country and Western" have contributed to the rhythms of English speech as in, say, Derek Walcott's O, Babylon and Dorothy Allison's Bastard out of Carolina. We'll look at selections of poems, plays, and fiction from such places; and our authors will include names like Toni Morrison and Herman Melville, as well as Wole Soyinka, Mulk Raj Anand, and Shakespeare. And we'll deal in titles that range from Death of a Salesman to Our Sister Killjoy, and from The God of Small Things to Joebell and America

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Engl. 239. What is Literature?

Section 008.

Instructor(s): Andrea Kaitany (akaitany@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

"Literature" is an amorphous term; its definition changes with time, through cultures, and among social groups. In this course we will explore the defintions of literature that are manifested across works from a wide range of time periods and cultures. Readings will range from Shakespeare's King Lear to Toni Morrison's Sula and Tsitsi Dangarembga's Nervous Conditions, as well as including other selections from the genres of drama, fiction, poetry, and the non-fiction essay. We will focus broadly on the themes of family and origins and examine some of the ways in which these themes develop across the genres of the works and across the various social matrices within which the works were created. Grading will be based on class discussion, brief content-based quizzes, and several essays.

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Engl. 239. What is Literature?

Section 009.

Instructor(s): Scott Melanson (melanson@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

The study of literature today tends to focus on the multiplicity of "voices" within literary texts. Regardless of its genre or geographical/historical context, we can look for and discuss the ways in which a text's characters (both central and minor), narrator(s), speakers, etc., are represented or ignored by the author, as well as how they interact linguistically with one another. More often than not, contemporary literary critics use this focus on these textual representations and dynamics to raise important questions about the social and political ramifications of literature. In this course, students will ask these kinds of questions about a wide variety of literatures, then test out answers to these questions through extensive in-class discussion, and three short papers (3-4 pages), and one longer paper (7-10 pages).

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Engl. 239. What is Literature?

Section 011.

Instructor(s): Scottie Parrish (sparrish@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

For this course, we will be drawing on texts and films that deal with North America during the period between early British colonization and the Civil War. In order to get at the question "what is literatures" (or "what is film?"., we will, in each segment of the course, commence with a non-".iterary" document and then move through fictional renditions of this document and the events it describes. In one section, for example, we will begin with accounts of the witch trials of 1692 (court documents and ministerial sermons); we will then read Hawthorne's tale, "Young Goodman Brown," and his novel, The Scarlet Letter; finally, we will read Arthur Miller's The Crucible (I am still debating whether we should watch Demi Moore as Hester to inquire not into "what is evil?" but instead: "what is bad".. In this and other sections, we will also read commentary from the periods about "what is literature" and current criticism about the formation of canonical literature. In traversing history and genres and criticism we will think about the following: How does each period define literature? What is the difference between reporting and narrating? How does a given genre change one's understanding and experience of an original event? How do we decide what is "great" or "American"? You will write short responses to the texts/films, one short and one long paper, one brief creative piece (to experience literature from another side), and we'll do a bit of dramatization in class. Texts inlcude Strachey's A True Reportory; Shakespeare's The Tempest; Greenaway's Prospero's Books; Lawson's A Brief and True Narrative; Mather's Wonders of the Invisible World; Miller's The Crucible; The Old Testament from Exodus and from Jeremiah; Rowlandson's The Soveraignty and Goodness of God; Delano's Narrative of Voyages and Travels; Melville's Benito Cereno; and Spielberg's Amistad.

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Engl. 239. What is Literature?

Section 012.

Instructor(s): Martha Patterson (pattersn@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

This course will provide both an introduction to a wide range of literature and a chance to develop interpretive skills. While we will spend much of our time learning strategies of close reading exploring the significance of narrative style, genre, characterization, point of view, prosody, voice tone, audience, etc. we will also learn to identify major trends in literary theory. At the same time, we will look at the ways in which these literary works both influence and are influenced by the culture of which they are a part.

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Engl. 239. What is Literature?

Section 013.

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

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

During the 19th century, in what literary scholars call the renaissance of American literature, it probably seemed a simpler task than it does now to provide an all-encompassing description of the American literary tradition. Hawthorne and Melville wrote about confrontations between individual desire and harsh social constraints; James and Wharton explored American dreams becoming American nightmares; Twain and Chopin spoke for outsiders to mainstream values and customs. But as new literary voices from diverse ethnic cultures began to emerge at end of the century, describing that American tradition became a trickier endeavor. Writers such as Yezierski, Farrell, Alvarez, Chu, Erdrich, Morrison, and others, continue to lament about the clash between the individual and the culture, see American dreams becoming American nightmares, and write from the position of the outsider, but at the same time they change the terms of discourse in American literature. We will make the construction of an expanded description of service literature our mission in this course, celebrating not only what connects these writers separated by time and experience, but what makes each unique. Requirement: one 2-3pp essay, two 4-6; contributions to a computer conference, a final, regular attendance, and active class participation.

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Engl. 239. What is Literature?

Section 014.

Instructor(s): Alisse Theodore

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

What is literature? That question invites discussion, both serious and playful, more than it points to a "right answer." In our exploration of literature, we will read, discuss, and write about eight novels. Though the novels are varied in style and content, each has something important to say about the power of language of speaking, of writing, of telling stories. The first two books pair a classic novel (Jane Eyre) with a recent revision (Wide Sargasso Sea). The next two books consider, among other things, some differences between oral and literate cultures (Song of Solomon and Things Fall Apart). The sixth and seventh books experiment with traditional novel-writing in compelling, even fun ways that highlight storytelling (Like Water for Chocolate and If on a winter's night a traveler). Students will participate in class discussions and write several brief responses to the readings as well as two 3-5 page papers.

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Engl. 240. Introduction to Poetry.

Section 001.

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

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

The aim of this course is to introduce you to the art of poetry so that you can read and discuss any poem with understanding and delight. During the term, we will move from a general survey of poetic techniques and forms to a more detailed study of the work of a selection of authors from the Renaissance to the present. For the former, we will use Western Wind by John Frederick Nims. For the latter, we will use The Norton Anthology of Poetry. Formal writing will include four (ungraded) exercises in poetic analysis and four (graded) papers (3-5 pages) on individual authors and poems.

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Engl. 240. Introduction to Poetry.

Section 002.

Instructor(s): Lorna Goodison

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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.

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Engl. 240. Introduction to Poetry.

Section 004 Honors

Instructor(s): Adela Pinch (apinch@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

In this Honors section of English 240, we will focus on the meaning of poetic form. Reading a wide variety of poems, from different periods and places, we will explore the following questions: how do poems ask us to read them? what do poems do to ordinary language? how do the forms in which poems are written become meaningful? We will begin our reading in and around The Norton Anthology of Poetry, moving through a series of units designed to raise and explore some of the questions above; we will then read several short volumes of twentieth-century poetry together, including perhaps Elizabeth Bishop's Geography III and Rita Dove's Thomas and Beulah. Students will be expected to read carefully, participate enthusiastically in class discussion, and write four papers.

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Engl. 240. Introduction to Poetry.

Section 005.

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

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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

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Engl. 240. Introduction to Poetry.

Section 006, 007.

Instructor(s): Mary Zweip

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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 papers of analysis, midterm, and final. Regular attendance is expected. Class proceeds by discussion. Text is the complete Norton Anthology of Poetry.

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Engl. 240. Introduction to Poetry.

Section 008.

Instructor(s): Emily Cloyd (ecloyd@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

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

Course Homepage: No Homepage Submitted.

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.

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Engl. 245/RC Hums. 280/Theatre 211. Introduction to Drama and Theatre.

Section 001.

Instructor(s): Bert Cardullo (cardullo@umich.edu)

Prerequisites & Distribution: No credit granted to those who have completed or are enrolled in RC Hums. 281. (4). (HU).

Foriegn Lit

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

Course Homepage: No Homepage Submitted.

See RC Humanities 280.001.

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Engl. 267. Introduction to Shakespeare.

Section 001.

Instructor(s): Ejner Jensen (ejjensen@umich.edu)

Prerequisites & Distribution: Completion of Introductory Composition. (4). (HU).

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

Course Homepage: No Homepage Submitted.

In this course 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 five or six short in-class 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.

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Engl. 270. Introduction to American Literature.

Section 001 American Voices

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

Prerequisites & Distribution: (3). (HU).

R&E

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

Course Homepage: No Homepage Submitted.

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.

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

Section 001.

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

Prerequisites & Distribution: (3). (HU).

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

Course Homepage: No Homepage Submitted.

This course surveys the tradition of African American literature from the slave narratives through the Harlem Renaissance to the recent so-called "Second Renaissance" of African American women writers. We will examine poetry, autobiography, fiction, and the essay form, as well as hybrid forms that draw on both literary and musical traditions. How do African Americans portray themselves as individuals and elders, mothers and fathers, sons and daughters during slavery, post-Civil War Reconstruction, the Great Migration of blacks from farm to city, and the Civil Rights movement? How was African American literature influenced and supported by its intersection with African American music, magazines, churches, women's clubs, theatre groups? Class format will alternate between class discussion and introductory lectures on African American history and the specific writers involved. Students will do two oral reports and write four papers of 4-5 pages each, as well as a number of informal responses to the readings, both in and out of class.

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Engl. 285. Introduction to Twentieth-Century Literature.

Section 001.

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

Prerequisites & Distribution: (3). (HU).

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

Course Homepage: No Homepage Submitted.

We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical, and moral issues and preoccupations of 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. Candidates for the reading list (availability of texts and reasonableness of prices will be factors) include works by Albert Camus, Thomas Mann, Franz Kafka, Arthur Koestler, Philip Roth, Saul Bellow, Friedrich Duerrenmatt, Jerzy Kosinski, Margaret Atwood or several others. Informal lecture and discussion, the amount of which will be influenced by the size of the class. Thoughtful, active participation "counts." Two papers (ca. 5-77 pp. each) and a final exam.

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Engl. 299. Directed Study.

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

No Description Provided.

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Engl. 305. Introduction to Modern English.

Section 001.

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

Prerequisites & Distribution: Recommended for students preparing to teach English. (3). (HU).

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

Course Homepage: No Homepage Submitted.

Though a requirement for students seeking certification as secondary school English teachers, English 305 appeals to a broader audience interested in the structure of English and its varieties. Topics to be discussed include: gender-based differences in American English and regional and social dialects in the United States, including African-American English, Appalachian English, Hispanic English, and Native American English; English as a rule-governed language, shaped by its history, and the history of ideas about good (and "bad" English). English 305 is designed for native-speakers of English (with no prior study of the language or of linguistics) who are curious about the language community of which they are a part. A midterm and final examination allow students to demonstrate the ability to make well-founded generalizations based on the material studied. Short papers invite explorations of domains of language.

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Engl. 310. Discourse and Society.

Section 001 The Henry Ford High School Project

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

Prerequisites & Distribution: English 124 or 125. (3). (Excl).

Credits: (3).

Course Homepage: No Homepage Submitted.

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

Check Times, Location, and Availability Cost: 3 Waitlist Code: 3

Engl. 313. Topics in Literary Studies.

Section 001 Fantasy

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

Prerequisites & Distribution: (4). (HU). May be repeated for a total of eight credits.

Credits: (4).

Course Homepage: No Homepage Submitted.

This course explores the nature and uses of fantastic narratives from the beginning of the nineteenth century to the present, drawing texts from such widely different fields as fairy tales, science fiction, and the so-called New Novel. No special background in literature is required. The course requires attendance at two lectures and one discussion section per week. The written work for the course will revolve around a series of short papers and two medium-length papers. There will be no exams. Texts include: Household Stories of The Brothers Grimm; Tales of E. T. A. Hoffmann; The Portable Poe; The Alice books, Lewis Carroll; The Island of Dr. Moreau and Best Science Fiction Stories, H. G. Wells; The Complete Stories, Franz Kafka; Orlando, Virginia Woolf; The Erasers, Alain Robbe-Grillet; The Tolkien Reader; The Phantom Tollbooth, Norton Juster; Cosmicomics, Italo Calvino; The Dead Father, Donald Barthelme; Woman on The Edge of Time, Marge Piercy.

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

Engl. 315/WS 315. Women and Literature.

Section 001 Crossing Erotic Boundaries: Representations of Lesbianism in Early Modern Western Europe. Meets with History of Art 394.001 and Women's Studies 347.001. This course meets the New Traditions requirement for English concentrators

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

Prerequisites & Distribution: (3). (HU). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

See History of Art 394.001.

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Engl. 317. Literature and Culture.

Section 003 Literature of the American Wilderness. Meets with Environmental Studies 407.001. This course satisfies the American Literature requirement for English concentrators

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

Prerequisites & Distribution: (3). (HU). May be repeated for credit with department permission.

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

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

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Engl. 317. Literature and Culture.

Section 004 Readings in Irish Literature

Instructor(s): Richard Tillinghast (rwtill@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

How is it that this island nation with a population, north and south, of less than five million, has produced some of the most beautiful and powerful writing the world has seen? In this class we will get a sense of the history of Irish literature by reading a selection of fiction from the 19th century and before. Then we will take on the 20th century, when most of Ireland's literary masterpieces have been written. Among the books we will read are the novel Amongst Women by John McGahern, a novel and short stories by two Anglo-Irish cousins who collaborated under the name Somerville & Ross, a selection of poetry, and short stories by William Trevor. There will be brief weekly quizzes, one short paper, a midterm, and a final exam. Irish traditional music will be played every day before class begins, and one or two films will be shown. The class is taught in a multimedia format.

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Engl. 323. Creative Writing.

Section 001 Poetry

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

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

This is a poetry section; we will spend the term, in the workshop and in tutorials, discussing the craft and techniques of verse. There will be assigned exercises, but for the most part each student will work independently to develop the voice and style(s) most congenial to his or her talent. Students will keep a journal devoted mainly to their reading of poems and essays about poetry. At least one anthology will provide opportunities for conversations about contemporary poetics. Active participation in class discussion is an essential requirement of this course.

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Engl. 323. Creative Writing.

Section 002 Poetry

Instructor(s): Lorna Goodison

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

This course is designed to help aspiring poets to develop their own voices. It will introduce them to new ways of seeing and shaping into poetry the everyday wonders which influence our lives. It will also suggest new ways of using literary and local language as part of the poetic craft.

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Engl. 323. Creative Writing.

Section 003 Fiction

Instructor(s): Lorna Goodison

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

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Engl. 323. Creative Writing.

Section 004 Fiction

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

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

In this workshop we will focus on writing fiction, studying short stories selected from an anthology titled You've Got to Read This, and critiquing one another's works with thoughtfulness and intelligence. Evaluation will be based on workshop participation, written critiques, and a final fiction portfolio of approximately fifty pages.

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Engl. 323. Creative Writing.

Section 005, 006 Fiction

Instructor(s): Tish O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

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Engl. 323. Creative Writing.

Section 007 Poetry

Instructor(s): Alice Fulton (slippage@umich.edu)

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

This workshop is for those who love to read and write poetry and who wish to continue the serious study and practice of their craft. Although much of our time will be spent discussing student poems, we'll also analyze poetry and poetics from assigned books. Students will be asked to write a weekly poem, often in response to a specific catalyst or exercise; to write short responses to the assigned books; to post a review on the Internet; make responsible contributions to discussions; and to submit a final portfolio of at least 12 pages of poetry written during the term. There might be quizzes from time to time. Constant attendance is a must.

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Engl. 323. Creative Writing.

Section 008 Poetry

Instructor(s): Rene Huigen

Prerequisites & Distribution: English 223 and junior standing. (3). (CE). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

In this course we will focus on poetry as another way of thinking. The point of view is not poetry as an expression of individual emotions, but the emphasis is on form and language as a medium to evoke them. This means that form and language are the starting point instead of lived through emotions. The inspiration of this course will be T.S. Eliot's adagio: "Poetry is not a turning loose of emotion, but an escape from emotion, it is not an expression from personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from those things." To illustrate this we will read poems and study ideas of poets like Fernando Pessoa, Carlos Drummond de Andrade, Cesare Pavese, and the Dutch poet Martinus Nijhoff. Next to this we will bring theory into practice by using different techniques and we will discuss each other's work.

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Engl. 325. Essay Writing: The Art of Exposition.

Section 001 Ripening Memories: The Making of Meaning

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

Prerequisites & Distribution: (4). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

"I am moved by fancies that are curled/around these images, and cling," says T.S. Eliot. In some significant ways a literary text may serve its reader similarly to a past life remembered, a memory, a dream. In this seminar, we will want to concentrate our attention on how that process works. How does an author carve a living, changing world out of print and paper? How do we carve our lives out of past lives our own and others? What do we choose to remember and what "to forget"?

We will, as the seminar progresses, find ourselves asking: "What actually did we hear and see in the past," both in our personal lives as well as in the lives of the characters we meet in the texts and films we read and view, respectively. It will be a fascinating story for us to unfold and we will find some fascinating authors to help us unfold it.

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Engl. 325. Essay Writing: The Art of Exposition.

Section 002 Telling Stories on the Eve of the Millennium

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

Prerequisites & Distribution: (4). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

"We tell ourselves stories in order to live," says Joan Didion. We need "stories" narratives as well as essays to help us explain ourselves and explain things to ourselves. We also need stories to help us explain ourselves and events and ideas to others. On this, the eve of the millennium, this class will pay particular attention to those topics which raise interesting issues about the "brave new world" we are about to enter. This class will be reading texts and viewing films which illustrate some of the "stories," those that are enthusiastic as well as those that are cautionary about the coming twenty-first century. We will also be looking at those that explain where we are right now. You will fashion your own topics based on the readings. Requirements include twenty-five pages of formal, polished prose which has been revised several times, ten 2-page critiques and informal writing using e-mail and the Internet.

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Engl. 325. Essay Writing: The Art of Exposition.

Section 003.

Instructor(s): Jackie Livesay (jlivesay@umich.edu)

Prerequisites & Distribution: (4). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

The goal of this course is to provide opportunities for students to learn to write with increased insight, power, and assurance. Given that goal, I've tried to create a course (1) that gives students much writing practice (though not always as formal papers); (2) that allows students to work independently on topics of their own choosing; (3) that offers examples and inspiration from some of the finest prose stylists; and (4) that keeps the whole class sharing ideas and helping each other with writing throughout the term. Readings, discussion, in-class writings, and workshopping of one another's papers will be the primary focus in the classroom. Attendance and participation are essential, given the collaborative nature of the work.

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Engl. 325. Essay Writing: The Art of Exposition.

Section 004, 005.

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

Prerequisites & Distribution: (4). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

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

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Engl. 325. Essay Writing: The Art of Exposition.

Section 006 A Nation of Immigrants. This course satisfies the New Traditions requirement for English concentrators

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

Prerequisites & Distribution: (4). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

Central to the myth of the American Dream is the construct of the immigrant, those "tired" and "poor," welcomed to our shores, expecting to find "streets paved with gold," and "life, liberty, and the pursuit of happiness," limited only by their own energy and desire. Not surprisingly, some of America's most compelling literature is about and by immigrants who write of the promise and disappointment of that dream and of the inevitable conflicts between old-world ethics and new. This composition class will make their writings and the essays you compose in response to their ideas its focus. Our texts will be by Alvaraz, Doctorow, Hong Kingston, Coppola, P. Roth and other professional writers and by the writers in this class. Requirements: four 6-8 page essays; weekly writings on the readings; responses to each others' essays; active participation in class discussion; and regular attendance. This course satisfies the New Traditions requirement for English concentrators.

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Engl. 327/Theatre 327. Playwriting.

Section 001.

Instructor(s): Wendy Hammond (wham@umich.edu)

Prerequisites & Distribution: Engl. 227. (3). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

See Theatre and Drama 327.001.

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Engl. 350. Literature in English to 1660.

Section 001 This course meets the Pre-1600 Literature requirement for English concentrators

Instructor(s): Michael Schoenfeldt (mcschoen@umich.edu)

Prerequisites & Distribution: (4). (Excl).

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

Course Homepage: No Homepage Submitted.

This course is the first of a two-term sequence designed to study the historical development of literature in English. Most of our attention will be devoted to close analysis of a dazzling variety of texts from the Middle Ages and the Renaissance. We will work to foreground the historical, social, cultural, and intellectual issues to which these texts respond, and to interrogate our criteria for designating a text as "major." Writers to be studied include Chaucer, Marlowe, Spenser, Shakespeare, Donne, Herbert, and Milton. The course features three hours a week of lecture; groups of twenty-five students will meet a fourth hour under the leadership of doctoral students to discuss the material further and to work on their writing for the course. There will be three essays of approximately five pages each, a midterm and a final examination. This course meets the Pre-1600 Literature requirement for English concentrators.

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Engl. 367. Shakespeare's Principal Plays.

Section 001 This course meets the Pre-1600 requirement for English concentrators

Instructor(s): Steven Mullaney (mullaney@umich.edu)

Prerequisites & Distribution: (4). (HU).

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

Course Homepage: No Homepage Submitted.

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 be to appreciate Shakespeare and to examine the impact of his drama in its own day and its ramification for ours. The plays likely to be studied: A Midsummer Night's Dream; The Merchant of Venice; Measure for Measure; Hamlet; Othello; King Lear; The Tempest. The text used will be The Riverside Shakespeare. There will be a midterm and a final exam, as well as three relatively short essays. This course meets the Pre-1600 requirement for English concentrators.

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Engl. 370. Studies in Medieval and Renaissance Literature.

Section 002 Self and Society in Early English Literature. This course satisfies the Pre-1600 requirement for English concentrators

Instructor(s): Karla Taylor (kttaylor@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for a total of eight credits with department permission.

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

Course Homepage: No Homepage Submitted.

Some of the most fascinating and challenging works in earlier English literature worry about the problems that arise when people seek to find and understand themselves, both as inwardly defined individuals and as socially defined members of various groups: a marriage; a noble court; or a nation, for instance. Do self-discovery and social identity confirm and support one another? Do they undermine or even endanger one another? How does literature contribute to the quest for a self, whether in or out of society? We will read a variety of literary versions of the relation of self and society, including works by Marie de France, Chaucer, the Gawain-poet, Spenser, and Shakespeare. Requirements include class participation, several moderate papers and presentations, and a final examination. This course satisfies the Pre-1600 requirement for English concentrators.

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Engl. 370. Studies in Medieval and Renaissance Literature.

Section 003 Honors. Questioning Heroic, Singing Romance. This course meets the Pre-1600 Literature requirement for English concentrators.

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

Prerequisites & Distribution: (4). (Excl). May be repeated for a total of eight credits with department permission.

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

Course Homepage: No Homepage Submitted.

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. We will give special attention in 1996 to the ongoing rewriting of the heroic, with its shifting models of male and female excellence and to Romance with its artful fables of desire. 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. There will be two essays of approximately six pages each, a midterm, and a final examination. This course satisfies the Pre-1600 requirement for English concentrators.

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Engl. 371. Studies in Literature, 1600-1830.

Section 003 Honors: Augustan and Romantic Culture. This course meets the Pre-1830 requirement for English concentrators

Instructor(s): Andrea Henderson (akhender@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

The aim of this course is twofold: to sharpen students' interpretive skills in a variety of media and to introduce them to eighteenth- and early nineteenth-century British literature, visual arts, and history. We will begin by exploring the arts of the early eighteenth century. We will, for instance, discuss prosody and notions of social order in Pope's Essay on Man, read Defoe's Robinson Crusoe along with some of his economic writings, and read Reynolds' aesthetic theory alongside his paintings. As the course proceeds we will trace the development of Romantic aesthetics, reading Wordsworth's "Preface" to Lyrical Ballads and Shelley's Frankenstein while studying Romantic poetry and painting. Requirements include papers, a group presentation, and a final. This course meets the Pre-1830 requirement for English concentrators.

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Engl. 372. Studies in Literature, 1830-Present.

Section 001 What Was Modernism?

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

Prerequisites & Distribution: (4). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

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

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Engl. 372. Studies in Literature, 1830-Present.

Section 002 Visions of Decadence

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

Prerequisites & Distribution: (4). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

Even if one understands decadence narrowly, as a fin-de-sieclè fashion-craze of debauched poets, the term nonetheless stymies definition. But like some other problematic literary-critical notions romanticism, for example it just doesn't go away. So rather than set out to define such a protean phenomenon, we allow it unusually free reign here, examining variations on decadent artistry over the last two centuries. In asking questions about decadence as a matter of style, content, ethical attitude, and even setting, we will be concerned primarily with literary texts, but we look to visual arts and modern cinema as well. And even though our readings are predominately British, we will also look to contexts in French, German, and perhaps American authors. Beware: bring a tolerance, even an appetite, for the grotesque. Two small papers, two longer papers, and lots of reading quizzes.

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Engl. 372. Studies in Literature, 1830-Present.

Section 003 The Monologue in Fiction, Poetry, and Drama

Instructor(s): Mary Zweip

Prerequisites & Distribution: (4). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

We will explore a variety of "monologues" from Victorian and Modern works, thinking as we go why a writer would choose to work with such a technique, discussing its advantages and limitations. The approach also allows a historical perspective, covering works written from the late 19th century to the other day. Readings will concentrate on fiction, but will also include poetry and drama, perhaps an autobiography. A tentative reading list will cover the dramatic monologues of Tennyson and Browning; the "interior" monologues of James Joyce (with selections from Ulysses), of William Faulkner (The Sound and the Fury) and of Louise Erdrich (Love Medicine); the first-person narratives of Henry James (The Aspern Papers), Ernest Hemingway (The Sun Also Rises), and Ford Madox Ford (The Good Soldier); and the third-person limited point of view in short stories from Dubliners. We will look at the "dramatic soliloquies" of Virginia Woolf (The Waves); a play by Samuel Beckett (Krapp's Last Tape); and the story-telling of Isak Dinesen (Seven Gothic Tales). We might make a case for a single speaker in T.S. Eliot's "The Waste Land," and explore the uses of the first-person in poetry (with W.B. Yeats and a confessional poet such as Robert Lowell or Sylvia Plath). Requirements: two papers, midterm, final, assorted informal "exercises."

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Engl. 386. Irish Literature.

Section 001 Inventing Ireland: 100 Years of Irish Cultural Production, 1898-1998

Instructor(s): Eileen Morgan (emmorgan@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for a total of six credits with department permission.

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

Course Homepage: No Homepage Submitted.

It is often said that Ireland has produced some of the finest and most prolific writers of the twentieth century. In this course we will study an array of literary and cinematic texts in an attempt to understand better the relationship between the nation's history of conflict and its rich imaginative life. Our particular focus will be the images and mythologies of the island and its inhabitants, through which Irish writers and filmmakers have attempted to define Irish national identity and aspirations, and spur social and political change.

Our survey will include works by figures who have achieved "canonical" status, or at least international reputations Yeats, Joyce, Edna O'Brien, Seamus Heaney, Roddy Doyle, and filmmaker Neil Jordan, for example. We will also read texts by lesser-known but important writers, such as Anne Devlin and Marie Jones. Students will be asked to write two essays of medium length (4-6 pages) and one longer essay on a research topic of their choice, and also to complete frequent pop quizzes, a midterm, and final.

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Engl. 406/Ling. 406. Modern English Grammar.

Section 001.

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

This is an advanced survey of descriptive English grammar. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (words, phrases, clauses, and sentences) and we will discuss how these structures contribute to the expressive potential of the system. There will be daily practice in grammatical parsing, weekly quizzes, and a final exam. The course should be attractive to those professionally interested in English education, practical criticism, or further work in linguistic theory as well as those generally interested in becoming more articulate about the structure of our language. Texts: Randolph Quirk and Sidney Greenbaum, A Concise Grammar of Contemporary English and John Algeo, Exercises in Contemporary English.

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Engl. 407. Topics in Language and Literature.

Section 001 Reading Old English. This course satisfies the Pre-1600 Literature requirement for English concentrators. Meets with English 501/German 501

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

Prerequisites & Distribution: (3). (Excl). May be repeated for a total of six credits with department permission.

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

Course Homepage: No Homepage Submitted.

This course is an introduction to the earliest texts written in English over a thousand years ago. We will begin with Old English, the language spoken by our forebears until the unpleasantness at Hastings the Norman Conquest. Since Old English is so different from Modern English as to seem like another language, the first object of this class will be to master the rudiments of the structure and vocabulary of the earliest attested form of English. The reward is being able to read an excitingly different corpus of prose and poetry. We will conclude with the study of the later texts which continue the Anglo-Saxon tradition alliterative tradition. My chief aim is to help you develop a new appreciation of where our language, culture, and intellectual traditions come from. This course meets the Pre-1600 Literature requirement for English concentrators.

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Engl. 412/Film-Video 412. Major Directors.

Section 001.

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

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be repeated for a total of nine credits with department permission.

No Description Provided.

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Engl. 413/Film-Video 413. Film Genres and Types.

Section 001.

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be repeated for a total of nine credits with department permission.

No Description Provided.

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Engl. 415. Interdisciplinary Approaches to Literature.

Section 001 Television Discourse Analysis: Narratology, Cinematography, And Response

Instructor(s): Barbra Morris

Prerequisites & Distribution: (3). (Excl). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

How does television mean? How does television create meaning? What are television viewers engaged with? In what significant ways do viewers differ about the meaning of a text? In what ways are symbols, signs, and forms that represent people" lives, subcultures, and places in society made sense of through the articulation of values, priorities, and issues in the dynamic television landscape? Who and what rarely appear on the scene and how can we account for these absences? How do preference, pleasure, and creativity intersect with the forbidden, the dangerous, and censorship? There are three papers (5-6 pages of description and analysis, plus appended logging data) during the term; this includes two papers requiring content research and analysis, and one collaborative study which requires focus group research. At the end of the term each student designs and develops an individual content research and interpretation project of 8-10 pages. Oral reports on research findings are mandatory. Readings in the course pack accompany each of the projects; discussion of differing research methods and interpretive frameworks often require one page analytic critiques by class members, who lead discussion.

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Engl. 415. Interdisciplinary Approaches to Literature.

Section 002 Research and Technology in the Humanities. Meets with English 516

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

Prerequisites & Distribution: (3). (Excl). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

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

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Engl. 417. Senior Seminar.

Section 001 Samuel Beckett

Instructor(s): Enoch Brater (enochb@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

Although Beckett is largely known as the author of a landmark play, Waiting For Godot, this seminar will examine his artistic accomplishment as a writer of BOTH drama and fiction. The accent will be placed on the relationships between the two genres as they inform the meaning of his work as a whole. After reading exemplary works selected from Beckett's "classical" period, class sessions as well as frequent writing assignments will be based on the problematic late works for stage and prose. This is a class about problems of genre, close reading, and experimental writing. The seminar will culminate in the writing of a final term project.

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Engl. 417. Senior Seminar.

Section 002 Women and Space

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

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

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

Course Homepage: No Homepage Submitted.

This course will examine the relationship between women and space in twentieth-century writings by women as a way of thinking through issues of geography and identity. As elite women experience greater mobility, how do they represent their relationship to settlement, as settlement worker in Chicago or as colonizer in a settlement colony in East Africa? How are spatial metaphors used to describe the place of the woman writer, both inside and outside dominant culture, as in Woolf's A Room of One's Own or Steedman's Landscape for a Good Woman? How do experiences of dislocation, due to migration, travel, or transciency, enable relocation within written narratives? Readings will range from Jane Adams Hull House to Sandra Cisneros' House on Mango Street, from Jamaica Kincaid's A Small Place to Gretel Ehrlich's The Solace of Open Spaces. Writing assignments will include a short essay and a research paper.

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Engl. 417. Senior Seminar.

Section 004 Literature in the Americas.

Instructor(s): Lem Johnson (eljay@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

The United States, Cuba, and Brazil, Argentina, Jamaica, and Mexico as well as Haiti, Peru, and Colombia these are places and cultures that have laid claim to and transformed the "New World" into various forms of "The Americas." Is there anything that they share? Are there certain basic images, certain kinds of cultural features, that "New World-ness" imposed on the art forms that each one these places has produced? What about the differences? How much of, say, Walt Whitman's "I hear America singing / The varied voices I hear" is there in Jose Marti's "Our America"? What does the Japanese Brazilian of Karen Yamashita's Brazil-Maru mean for the Japanese Canadian in Joy Kogawa's Obasan. And how does the Jewish America in Anzia Yezierska's How I Found America mean in relation to the Francophone Caribbean of Maryse Conde's I, Tituba, the Witch, or to Maxine Hong Kingston's The Woman Warrior? Other writers, like Emily Dickinson and García Márquez, Arthur Miller and George Lamming (Barbados), will help us through a term of sorting these things out. The FINAL PROJECT for the term will involve a COMPARATIVE ESSAY, of about 15 pages, in which you deal deal with at least TWO of the cultural areas in "The Americas".

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Engl. 417. Senior Seminar.

Section 006 Poetic Form

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

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

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

Course Homepage: No Homepage Submitted.

Why do blues and rap have the same meter as English medieval alliterative poetry and Vedic chant? Why does a sonnet have fourteen lines? What are the varieties of free verse, what do they do, and why do they exist? What is the essence of the villanelle? If you are interested in such questions, and want to explore them rigorously, this is your course. It's a course designed for poets, poetry-lovers, and scholars. By midterm, everyone will need to choose a research topic for a long essay and a report to other members of the seminar. Our range of consideration will include: meter; the poetic line; phrasal rhythm; stichic form; and strophic form. We will spend a lot of time trying to anatomize free verse, and most of our energy will be devoted to art poetry, but we will also look at listen to popular poetry, including songs and nursery rhymes. We will briefly consider world poetry in translation, but of course our primary focus will be on English poetic form. In terms of reading volume, the workload will be light (a course pack of 200 pp. and 4 scholarly books on reserve) but the reading itself will be intense (close, exact).

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Engl. 417. Senior Seminar.

Section 007 Epic and Romance in the Middle Ages. This course satisfies the pre-1600 requirements for English concentrators

Instructor(s): Karla Taylor (kttaylor@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

Epic usually depicts war and the public, political emergence of nations, while romance focuses on private experience, love, and self-building. But many medieval narratives intertwine love and war, private and public, individual and social to give imaginative shape to the aspirations and anxieties of the aristocracy (12th-15th centuries). We will attend particularly to ways in which literary works resolve, negotiate, or suppress conflicts of dearly-held values: Does love foster reconciliation to one's social group? or is it profoundly antisocial? Can one temper the raw violence of knightly prowess with civilized courtly refinement? Readings include works by Chretien, Marie, Chaucer, and Malory, and a selection representing major stories (such as Tristan and Isolde), characters (such as Gawin, Lancelot, Guinevere, and Arthur), and varieties of epic and romance. Middle English works will be read in the original language. Writing: frequent short responses and a substantial research paper. Middle English works will be read in the original language; you should come to class prepared to learn Middle English. This course satisfies the pre-1600 requirements for English concentrators.

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Engl. 417. Senior Seminar.

Section 010 Rhyme & Time: A user's guide to prosody

Instructor(s): Richard Tillinghast (rwtill@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

This course offers you a chance to learn virtually all there is to know in one term about rhyme, meter, stanza forms, etc. This is a "singing school." We will approach the subject the way poets, professional and amateur, have always approached prosody by "studying/ Monuments of its own magnificence," as Yeats put it, and then trying to set up our own lean-tos.

The course has two aspects: one, historical and explanatory; the other, practical. The professor will offer a historical survey of versification in English, beginning with Old English alliterative poetry and moving all the way to contemporary free verse and beyond. On the practical side, each student will be asked, each week, to write in the verse form that is being studied.

Paul Fussell's Poetic Meter and Poetic Form will be a primary textbook. There will also be a course pack. Expect to read a lot and have a lot of fun.

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Engl. 417. Senior Seminar.

Section 011 Much Riches in a Little Room

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

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

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

Course Homepage: No Homepage Submitted.

For centuries the sonnet was the form of preference for songs of love. Compact, intense, formed but malleable, the sonnet seemed ideal for expressing the power of feelings which themselves fluctuate, variously delighting and disorienting. Much more than the longer forms, it lent itself to exploring the exprience of fragmentation the sense that one's identity is not single, but divided into moments of intense connection and disconnection, times of divided desire and multiple frustration. Sonnet sequences track these moments; to arrange and rearrange the order of the individual sonnets was to try out fictions of identity. And the sonnet was not only, as will appear, the song of love par excellence, but a song of political and religious passion as well.

This course will treat the sonnet widely: sonnets written by men and by women, by English, Europeans, Americans.... We will read, among others, Petrarch, Michelangelo, Labe, Ronsard, DuBellay, Spenser, Sidney, Shakespeare (especially), Donne, Milton, Wordsworth, Rilke....

Discussion will focus on the intersection of historical and cultural moment and the intensities of gender and desire, of artistry and evanescence with which the poets deal. We will also spend considerable time exploring and appreciating the splendors of style we encounter. And students will try their own hand at writing several types of sonnets.

The course will ask several brief essays (3-4pp.), a midterm, and a final examination and much discussion.

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Engl. 417. Senior Seminar.

Section 012 "The Pillager Smile". Communities of Ethnic and Indigenous Women at the End of the 20th Century. This course satisfies the New Traditions requirement for English concentrators

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

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

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

Course Homepage: No Homepage Submitted.

The narration of Louise Erdrich's Tracks focuses on the post-colonial education of a native woman. In this course, we will explore how ethnic and indigenous women writers create communities of racial and gender compliance, without sacrficing "the Pillager Smile" the sign of ancestral histories and cultural resistance. We will do close readings of a selection of novels by Asian-American, Native American, African-American, Chicana, and Jewish-American to trace the thematic concerns and cultural anxieties that inform and shape these communities. There will be one class presentation, and a research paper due at the end of the term. This course satisfies the New Traditions requirement for English concentrators.

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Engl. 423. The Writing of Fiction.

Section 002.

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

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

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

Course Homepage: No Homepage Submitted.

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

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 3: Permission of Instructor Required.

Engl. 423. The Writing of Fiction.

Section 003.

Instructor(s): Tish O'Dowd (tishod@umich.edu)

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

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

Course Homepage: No Homepage Submitted.

Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, to come up with fifty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required. Students who want to enroll in the 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.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 1, 3: Permission of Instructor Required.

Engl. 425. Advanced Essay Writing.

Section 001 My Life/Our World: The Arc of Narration in Essay Writing

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

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

"Why you're only a sort of thing in his dream.... If that there King was to wake you'd go out BANG just like a candle!" says Tweedledum to Alice in Through The Looking Glass. We will, in this writing seminar, be exploring ways in which we can conceive of the relationship between imagination and reality as a continuing spectrum of experience: we want to, for example, see how we "write" our own characters of life and our own worlds within which we play the roles we write. Moreover, we want to learn how the blurring of distinctions between imagination and reality, between MY life and OUR worlds, can evoke a creative process in us that allows for superb analytical writing. Although our writing may begin with our own experience, we want to find ways in which we can create a rhetorical "I" who tells our tales with a convincing voice, a voice that finds a home in our reader's heart.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

Engl. 425. Advanced Essay Writing.

Section 002.

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

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

This is an advanced writing course based on the premise that nonfiction can be as creative, moving, provocative, and eloquent as our best stories, novels, and poems. We will read a great many essays, articles, and books to see how masters of the genre use the various forms, styles, and voices of fiction and poetry to handle nonfiction material. For our own pieces, we will draw on personal experience as well as research, interviews, excursions to new places, and scientific (or not-so-scientific) experiments and inquiries. Students may shape the course around subjects that interest them (literature, the arts, popular culture, history, politics, science, travel); everyone will be held to the same high standards of literary creativity and rational thought. Our time will be evenly divided between mining published work for inspiration and critiquing student essays (each student will write and rewrite forty pages of new material).

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

Engl. 425. Advanced Essay Writing.

Section 003.

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

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl).

Upper-Level Writing

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

Course Homepage: No Homepage Submitted.

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

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

Engl. 426. Directed Writing.

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

No Description Provided.

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Engl. 429. The Writing of Poetry.

Section 001.

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

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

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

Course Homepage: No Homepage Submitted.

This intensive workshop is for students whose poetry is so promising it would benefit from continued serious consideration. This advanced writing course is designed to help students produce poems of greater ambition and greater significance through the use of techniques and strategies that I hope fortify the commitment that the selected student writers have already made to craft and to the necessity of poetry in the lives of writers and readers/listeners. Poetry that matters is the goal. Poetry that strives to be memorable. Poetry that's not afraid to know something. While the emphasis will be on poems students write for the course, there will also be two required texts of contemporary poetry. At the end of the term, students will submit a bound chapbook of their work and will give a public performance. Permission of the instructor is required. Please submit five pages of poetry to my mailbox in the Dept. of English (3161 Angell Hall) by the first night that the workshop meets.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 3

Engl. 433. The Modern Novel.

Section 001.

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

Prerequisites & Distribution: (4). (Excl).

No Description Provided.

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Engl. 440. Modern Poetry.

Section 001 This course meets the American Literature requirement for English concentrators

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

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

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

Engl. 443/Theatre 321. History of Theatre I.

Section 001.

Instructor(s): Robert Knopf (robknopf@umich.edu)

Prerequisites & Distribution: (3). (HU).

Foriegn Lit

Credits: (3).

Course Homepage: No Homepage Submitted.

See Theatre and Drama 321.001.

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Engl. 443/Theatre 321. History of Theatre I.

Section 002.

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

Prerequisites & Distribution: (3). (HU).

Foriegn Lit

Credits: (3).

Course Homepage: No Homepage Submitted.

See Theatre and Drama 321.002.

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Engl. 447. Modern Drama.

Section 001 From Ibsen to Brecht

Instructor(s): Enoch Brater (enochb@umich.edu)

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

This course will examine the rise of modern drama in the Western world by concentrating on the work of Ibsen, Chekhov, Strindberg, Shaw, and Brecht. Emphasis will be placed on learning how to read a dramatic text for its performative qualities and 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 three papers of 5-7 pages each; a midterm; and a final exam.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

Engl. 449/Theatre 423. American Theatre and Drama.

Section 001.

Instructor(s): Bert Cardullo (cardullo@umich.edu)

Prerequisites & Distribution: (3). (HU).

Credits: (3).

Course Homepage: No Homepage Submitted.

See Theatre and Drama 423.001.

Check Times, Location, and Availability Cost: 4 Waitlist Code: 4

Engl. 461. English Romantic Literature.

Section 001 True Lies: British Romantic Literature

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

I offer this course for a generation of students who would like a reason to take seriously the dusty fictions of the past. I invite them to experience a literature that established the norms of feeling, thought, and action structuring both "The English Patient" and most of the videos on MTV. This is (among other things) a quest literature, and the quest is for a more various, authentic, and intense career in living (and dying) than any social structure could accommodate. I teach this course in order to explore the pleasure-principle threading through the poetry and fiction of the age, and to see what it can teach us about the pleasures on offer in our own cultural economy. I call the course "True Lies" as a double reference: first, to the entertainment industry of our own time, and second, to both Sir Philip Sidney's and Percy Bysshe Shelley's definition of poetry as a higher form than history and philosophy, not despite the "lies" or fiction that poetry trades in, but because of them. Poetry "feigns images of virtue and vice" to show both the reality behind the appearance and the ideal beyond it. Readings: Blake, Wordsworth, Coleridge, Shelley, Keats, Byron. Fiction: Scott, Radcliffe, De Quincey, Austen.

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Engl. 469. Milton.

Section 001 This course satisfies the Pre-1830 requirement for English concentrators

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

In this course, we will study the work of a poet whom many consider to be the most compelling, and the most maddening, in the language. His subjects were large: the loss of paradise; the origins of sin; the interdependence of free will and obedience; longing and intellect; sex and the state. His technical mastery his sheer prosodic command is unsurpassed. His career confounds our latterday theories of separate realms: Milton was at once an ivory tower intellectual and a practical servant to the Commonwealth, a poet of empire and an anti-imperialist. His prose tracts make the case for regicide and revolution, for radical reform in religion, governance, and relations between the sexes, but he was also a consummate spokesman for unreconstructed patriarchy. Reading broadly in the major poems (especially Paradise Lost, Paradise Regained, and Samson Agonistes) and selected prose, we will try to understand how this poet and his era the complex social, political, and religious unfolding of the English Reformation transformed the written word. Student contributions will include regular class particiapation and two essays. The longer second essay will involve use of secondary critical sources. This course satisfies the Pre-1830 requirement for English concentrators.

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Engl. 470. Early American Literature: Key Texts.

Section 001 American Literature to 1830. This course meets the Pre-1830 and American Literature requirements for English concentrators

Instructor(s): Scottie Parrish (sparrish@umich.edu)

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

This course will offer you a broad introduction to the literature of North America from the first Spanish contacts through the period of the Early Republic. We will read, for example, the impassioned theological expressions of New England, narratives of captivity, conversion, and enslavement that emerged from the often violent crossing of cultures and races throughout the colonies, seduction novels by women, and the foundational documents surrounding the Revolution. My interest lies not in defining an American form or story, but in asking why certain forms emerged or were invoked and altered in response to unique historical situations. As texts which you discover yourself are often the most compelling, you will pursue a subject of your own choosing through research in microfilm and rare books, present your finds to the class, and incorporate them into a final paper. There will also be a short paper, a reading journal, and a final exam. This course meets the Pre-1830 and American Literature requirements for English concentrators.

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

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

Section 001 Classic American Literature. This course satisfies the American Literature requirement for English concentrators

Instructor(s): James Mcintosh (jhmci@umich.edu)

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

A course in some of the most engaging and demanding texts in nineteenth-century American literature, including Hawthorne's short stories and The Scarlet Letter, Melville's Moby-Dick and "Bartleby," Douglass' Narrative of a Slave, Stowe's Uncle Tom's Cabin, Thoreau's Walden, major poems by Dickinson and Whitman, Twain's Huckleberry Finn and James' Daisy Miller. We will read good books rather than just study a historical period, but at the same time will pay attention to the historical trends and circumstances that inform the texts. Some subjects to be explored are: the willful originality of much American literature; the religious longings and skeptical character of the literature in an age in transition between faith and unbelief; the literary representation of landscape; the political strains of this literature in a society racked by slavery. Requirements: class participation and three papers. This course satisfies the American Literature requirement for English concentrators.

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Engl. 473. Topics in American Literature.

Section 001 Class and Money in American Fiction. This course satisfies the American Literature requirement for English concentrators.

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

Prerequisites & Distribution: (3). (Excl). May be repeated for credit with department permission.

Credits: (3; 2 in IIIB).

Course Homepage: No Homepage Submitted.

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 1880s 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 two hourly exams frequent short writing assignments. This course satisfies the American Literature requirement for English concentrators.

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Engl. 478/CAAS 476. Contemporary Afro-American Literature.

Section 001 The African-American Novel. This course satisfies both the New Traditions and the American Literature requirements for English concentrators

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

The African American novelist Ralph Ellison wrote "I believe that true novels, even when most pessimistic and bitter, arise out of an impulse to celebrate human life and therefore are ritualistic and ceremonial at their core. Thus they would preserve as they destroy, affirm as they reject." This course explores the African American novel from the mid-nineteenth century to the present, investigating the ways in which these works "preserve as they destroy, affirm as they reject" aspects of the genre and its sub-categories (e.g., the Bildungsroman). As we examine the formal and thematic elements of the novels, we will pay particular attention to the ways in which Black folk culture, music, religious practices, and popular culture make their way into literary works. Some familiarity with African American literature and history will be beneficial to students enrolling in this course. Course requirements include two papers and a take-home final. This course satisfies both the New Traditions and the American Literature requirements for English concentrators.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

Engl. 479/CAAS 489. Topics in Afro-American Literature.

Section 001 African-American Literature and the Politics of Civil Rights, 1954-1974. This course meets the American Literature requirement for English concentrators

Instructor(s): Marlon Ross (mbross@umich.edu)

Prerequisites & Distribution: English 274 and/or 320 strongly recommended. (3). (Excl). May be repeated for a total of six credits.

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

Course Homepage: No Homepage Submitted.

This course examines ways in which the civil rights and Black Power movements shaped and were shaped by African-American writing from 1954 to 1974. We'll read a wide range of texts that voice conflicting views on the problem of race in America, and that demonstrate the changing attitudes toward strategies and solutions over the two decades. In addition to exploring major controversies like desegregation, interracial relations, nonviolence, patriotism and exile, nationalism, relations between Black men and women, we'll also consider the role of the mass media in creating or disturbing a sense of racial community. Some of the writers to be studied include: Lorraine Hansberry, James Baldwin, Paule Marshall, Alice Walker, Eldridge Cleaver, Amiri Baraka, Gwendolyn Brooks, Ishmael Reed, and Chester Himes. Several short writing assignments and a comprehensive final exam. This course meets the American Literature requirement for English concentrators.

Check Times, Location, and Availability Cost: 4 Waitlist Code: No Data Given.

Engl. 482. Studies in Individual Authors.

Section 001 Charles Dickens

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

Prerequisites & Distribution: (3). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

Here is a world full of life forlorn orphans, angelic young women, absurd hypocrites, poisonous villains, and more. With his skill at characterization, Dickens combines melodrama, hilarity, and earnest social criticism with such power that he is named alongside Shakespeare more than any other figure in the Great Tradition of literary studies in English. In this course we explore the abundance of Dickens and assess his impact in the history of socially minded literature; we also explore modern critical methods of literary study that complicate any naïve sense of this "Great Tradition" within which Dickens is so important. Our goal is to understand the cultural values that generated his stories, determining the questions Dickens would ask (what is society's responsibility to the poor?) as well as those questions that he did not dare to ask (can a woman be sexual without being "fallen"? ). We survey novels from his entire career, supporting that reading with materials providing social and biographical context.

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Engl. 482. Studies in Individual Authors.

Section 002 Samuel Johnson. This course satisfies the Pre-1830 requirement for English concentrators

Instructor(s): Emily Cloyd (ecloyd@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit with department permission.

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

Course Homepage: No Homepage Submitted.

Samuel Johnson remains among the most eminent figures of English literature, whether we consider him as a contributor to or a subject of that literature. Coming out of the struggles of poverty and handicap, he rose through his own often despairing efforts to produce the first comprehensive dictionary in English, and some of the finest poetry, literary criticism, and fiction in English. The course will be built around Johnson, but we'll read and discuss the works of his friends as well: James Boswell's London Journal and Life of Johnson, Edmund Burke's Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful, and Fanny Burney's Evelina. Computer conference, "Notes and Queries," a couple of essays, and a final exam. And, oh yes, an eighteenth-century dance seminar. This course satisfies the Pre-1830 requirement for English concentrators.

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

Engl. 484. Issues in Criticism.

Section 001 Romantic Nature. This course satisfies the Pre-1830 requirement for English concentrators

Instructor(s): Tobin Siebers (tobins@umich.edu)

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

We all know that the Romantics loved nature, but how did they change the meaning of it? How did their love of the earth contribute to our love of nature, for example, to the ecology movement? We will study how the idea of nature changes within Romantic literature and its criticism. More importantly, we will study how the Romantic idea of nature transformed modern art and ecological consciousness. We will begin by looking at the writings of Rousseau, Goethe, Wordsworth, Coleridge, Keats, Shelley, and their critics. We will end by looking at current ideas about land art, deforestation, strip mining, and the bomb. The course will also include visits from local artists interested in the relation between art and the environment. Each student will do a major project. This course satisfies the Pre-1830 requirement for English concentrators.

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Engl. 484. Issues in Criticism.

Section 002 Rhetoric and the Achievement of Woman's Rights

Instructor(s): Alisse Theodore

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

The vote for American women: was it a civil right or what some women called "an official endorsement of nagging as a national policy"? Women who wanted the vote in the United States argued that it was a civil right; women opposed to their own right to vote (and there were thousands who felt this way) argued that the ballot would give women "the opportunity to annoy and pester" political leaders. Most nineteenth-century American women had little or no access to political leaders, nor to higher education or the wages they earned, nor were they allowed to sign contracts or own property in the United States. But despite these rigid constraints and tremendous opposition, over a span of eight decades American women generated massive social and political changes. How? By using the only tool available to them: language. Clearly, what we say, how we say it, and to whom it is said can and does change the world. In this class, you'll learn to use rhetorical theory as a way to critically examine persuasive appeals. You'll also study speeches, actual letters and petitions sent to Congressmen, and newspaper and magazine articles and editorial cartoons from women and men who argued for radical changes during the nineteenth-century woman's rights movement. Together, we will consider the power of language to define, reform, and even revolutionize politics and society. Students will participate in class discussions and write brief response essays as well as one longer paper.

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Engl. 486. History of Criticism.

Section 001.

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

Prerequisites & Distribution: (3). (Excl).

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

Course Homepage: No Homepage Submitted.

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

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

Engl. 489/Education 440. Teaching of English.

Section 001 Concurrent Enrollment in Education 307.008 Required

Instructor(s): Rex

Prerequisites & Distribution: See School of Education Bulletin. (3). (Excl).

No Description Provided.

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Engl. 489/Education 440. Teaching of English.

Section 002 Concurrent Enrollment in Education 307.014 Required

Instructor(s): Anne Gere

Prerequisites & Distribution: See School of Education Bulletin. (3). (Excl).

No Description Provided.

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Engl. 489/Education 440. Teaching of English.

Section 003 MAC Students Only

Instructor(s): Reeves

Prerequisites & Distribution: See School of Education Bulletin. (3). (Excl).

No Description Provided.

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Engl. 492. Honors Colloquium: Drafting the Thesis.

Section 001.

Instructor(s): Arlene Keizer (arkezier@umich.edu)

Prerequisites & Distribution: Admission to the English Honors Program and permission of instructor. (3). (Excl).

Upper-Level Writing

Credits: (3).

Course Homepage: No Homepage Submitted.

This course assists you in conceiving and writing an Honors thesis your most important piece of work in English Honors. In the initial weeks we examine research methods in the humanities and clarify the nature of the Honors thesis (how it differs from a term paper, for example). The remainder of the course is devoted to nurturing and strengthening your individual project through a linked series of tasks (topic statements, notes on secondary sources, bibliographies, drafts of sections). You present your work in progress to the class, and read and critique your classmates' drafts. By the end of the term, you will have a 20- to 30-page draft of your thesis and a strongly focused sense of what changes and additions are needed before you turn in the final version in March. You should also have a clear sense of the demands and rewards of advanced work in literary studies.

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

Engl. 492. Honors Colloquium: Drafting the Thesis.

Section 002.

Instructor(s): Michael Schoenfeldt (mcschoen@umich.edu)

Prerequisites & Distribution: Admission to the English Honors Program and permission of instructor. (3). (Excl).

Upper-Level Writing

Credits: (3).

Course Homepage: No Homepage Submitted.

This course assists you in conceiving and writing an Honors thesis your most important piece of work in English Honors. In the initial weeks we examine research methods in the humanities and clarify the nature of the Honors thesis (how it differs from a term paper, for example). The remainder of the course is devoted to nurturing and strengthening your individual project through a linked series of tasks (topic statements, notes on secondary sources, bibliographies, drafts of sections). You present your work in progress to the class, and read and critique your classmates' drafts. By the end of the term, you will have a 20- to 30-page draft of your thesis and a strongly focused sense of what changes and additions are needed before you turn in the final version in March. You should also have a clear sense of the demands and rewards of advanced work in literary studies.

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

Engl. 497. Honors Seminar.

Section 001 Psychoanalysis, Feminism, and Literature: Reading Freud Critically

Instructor(s): Suzanne Raitt (sraitt@umich.edu)

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

Credits: (3).

Course Homepage: No Homepage Submitted.

Freud's theories have had an enormous influence on the way Western societies think about personal development, psychological processes, and family and sexual relationships, and they have also been central to many approaches to literary criticism. Our reading and discussion will be organized around Freud's understanding of sexual difference (and some feminist responses to it), and you will be introduced to a number of key Freudian concepts: the unconscious; castration; the Oedipus complex; fetishism; and the death instinct, for example. We will also be thinking about the usefulness of Freudian theory as a tool for the analysis of literature and language, and our reading will include some psychoanalytic criticism and some literary texts, probably by Henry James, Virginia Woolf, and Thomas Hardy. Other authors will include Melanie Klein, Juliet Mitchell, and Jacques Lacan. Students will be required to make an informal in-class presentation, and to write a final research paper.

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

Engl. 498. Directed Teaching.

Prerequisites & Distribution: Permission of the instructor. (3). (Excl). (INDEPENDENT).

No Description Provided.

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Engl. 499. Directed Study.

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

No Description Provided.

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