125. Introductory Composition. ECB writing assessment. (4). (Introductory Composition).
Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates at The University of Michigan. In addition to formal exercises or impromptu essays, students can expect to write six or more formal papers exemplifying the various modes of discourse which comprise our academic community.
Individual course descriptions will be available for reference
in 224 Angell Hall. For all English classes, registered students
must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may
be dropped from the course
CSP section available. See Comprehensive Studies Program (CSP) section in the guide.
Primarily for Freshmen and Sophomores
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.
This will be a workshop in the writing of fiction, poetry, and drama, with emphasis on fiction. Each member of the workshop will first write a short story, then some verse, then a treatment of a one-act play or short screenplay with a part of the actual play. In the second half of the term, everyone will be encouraged to specialize in one genre: to write more fiction, to work on poetry, or to complete the play or screenplay. No texts, but a short course pack and a small additional expense for buying each other's work from one of the Xerox companies. Most class time will be devoted to discussing that work. No exams. Grading by a modified contract arrangement to be explained at the first meeting. [Cost:1] [WL:1] (Creeth)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
We'll read a wide variety of poems drawn from the last four centuries; our aim will be both understanding and appreciation. At first we'll develop a battery of questions likely to be fruitful in close reading. Later we'll apply these questions to poems short and long, simple and complex, as we seek to discover in each case the best avenue to interpretation. From time to time we'll try to view matters from the poet's perspective by composing verse in various forms. For the last 2-3 weeks we'll focus on the works of a single major poet. Daily short papers or exercises, one longer paper, a final exam. [Cost:1] [WL:1] (English)
Primarily for Juniors and Seniors
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
This course, which satisfies the English concentration requirement for a course in literature before 1800, takes tragedy as its subject. Texts will range from the earliest translations of Ovid and Seneca through Marlowe, Shakespeare, Tourneur, Webster, and Milton (SAMSON AGONISTES). Method of instruction is primarily discussion, with occasional brief lectures on background, critical history, and other such topics. Requirements for the course include two short essays, an oral report, and a final examination. Participation in class discussion will also be a factor in determining each student's final grade. [Cost:2] [WL:1] (Jensen)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
Rather than a historical survey of science fiction – an impossibility in such a brief term – this course will focus upon two writers, Philip K. Dick and Ursula Le Guin, whose work engages a broad range of social, cultural, and ideological concerns and achieves an artistic complexity which will reward close reading and discussion. We will read a number of novels by each author, including THE MAN IN THE HIGH CASTLES and DO ANDROIDS DREAM OF ELECTRIC SHEEP (retitled BLADERUNNER) and perhaps one other Dick novel, and THE LEFT HAND OF DARKNESS, THE WORD FOR WORLD IS FOREST, and THE DISPOSSESSED. The format of the course will modulate from brief informal lecture to discussion; there will be weekly reading quizzes, one paper due at midterm and another due at the end of the term. (Mullaney)
355. Core I (Great English Books). (4).
Section 201. A selection of works from the late Middle Ages through the Renaissance, e.g., THE CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, medieval plays, THE FAERIE QUEENE, poems by Donne, Herbert, and Marvell, VOLPONE, THE DUCHESS OF MALFI, and PARADISE LOST. Mostly discussion, occasional lecturing; oral presentations by student panels; modest attempts at staging two of the plays. Frequent short papers, one longer paper, a midterm and a final exam. [Cost:1] [WL:1] (English)
356. Core II (Great English and American Books). (4). (Excl).
One of the sequence of the courses required for English concentrators, although open to others, this course treats a number of significant British writers from the late seventeenth through the early nineteenth centuries, as well as an American nineteenth century writer. Included in the reading will be poetry by Dryden, Pope, Wordsworth, Keats, Shelley, and Coleridge, prose by Swift, and fiction by Fielding, Jane Austen, and Hawthorne. Class method is discussion and interruptible lecture. Probably two short papers, a midterm, and a final exam. [WL:1] (Gindin)
357. Core III (Great English and American Books). (4).
Section 201. We will examine selected texts in British and American literature from 1850 to 1950. The emphasis will be on novels and short stories, but we will also read a representative selection of Victorian and modern poems, and at least one play. The fiction includes Hardy's THE WOODLANDERS, Macaulay's NON-COMBATANTS AND OTHERS, Forster's A PASSAGE TO INDIA, and Faulkner's INTRUDER IN THE DUST, and short stories by Fitzgerald, Lawrence and Mansfield. Poems include works by Tennyson, Browning, Rossetti, Yeats, Pound, Eliot, Hughes, and several Great War poets. Students should have taken English 355 and 356 before electing this course. Our class meetings will combine discussion and lecture, with some timely additions of films and poetry readings. Written work will take the form of several short response papers, two medium-length papers (5-7 pages), a midterm and a final exam. (Heininger)
367. Shakespeare's Principal Plays. (3). (HU).
This course in the principal plays of Shakespeare offers an introduction to the playwright's major achievements in all the major genres he attempted. While the instructor will make an effort to locate the plays in a variety of contexts that help to shed light on them (the Elizabethan and Jacobean theatrical scene, Renaissance thought, the history of Shakespeare criticism), the chief aim of the course will be to understand the play texts as documents written for theatrical presentation. Class sessions will involve a balance of lecture and discussion. Requirements for the course include the following: regular class attendance and participation in discussions, an oral report, two short essays, and a final examination. All the stated requirements will be assessed in determining each student's grade. Text for the course is THE RIVERSIDE SHAKESPEARE. [Cost:2] [WL:1] (Jensen)
417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (3). (Excl).
This course will deal with a group of works which take as a central theme the nature of community. Some celebrate the ideal of "home" as the goal of all striving, the place of origin (whether in the physical or transcendent world) to which nostalgia draws us. Others look critically at the very possibility of community, and brood over the forces which isolate humans into tense and even murderous subgroupings which, scarcely communities themselves, disrupt one another. The works which we shall examine will be drawn from the following list: Homer, ODYSSEY; EXODUS; Plato, PHAEDRUS; Euripides, BACCHAE; Douglass, THE LIFE OF FREDERICK DOUGLASS, AN AMERICAN SLAVE; Woolf, ROOM OF ONE'S OWN; Silone, FONTAMARA; Levi, SURVIVAL AT AUSCHWITZ. We will be particularly attentive to the intersection of theme and literary form, and to the impact of notions of ethnicity and gender on concepts of community as imaged in these works. This class will be run as a seminar, with much discussion, much scanning of our own methods of reading these particular and disparate works, and frequent writing; a few short pieces, one longer (8-10 pp.). [Cost:3] [WL:1] (Williams)
433. The Modern Novel. (3). (Excl).
Section 201. A study of the development of and changes in the Modern Novel (mostly, but not exclusively, British) with attention both to literary history and to the novels as distinctive works of art. A tentative reading list (subject to modification by students): Hardy's JUDE THE OBSCURE, Bennett's THE OLD WIVES' TALE, Woolf's TO THE LIGHTHOUSE, Lawrence's WOMEN IN LOVE, Fitzgerald's TENDER IS THE NIGHT, Lessing's THE GOLDEN NOTEBOOK, and Robbe-Grillet's JEALOUSY. The class combines discussion with the interruptible lecture. Two short papers, a midterm, and a final examination. [WL:1] (Gindin)
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