125. College Writing. 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
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.
Course descriptions for all three sections of 223 are available in 7611 Haven Hall.
Section 102 – A creative writing course is usually associated with the writing of prose, fiction, poetry, and drama. However creative writing means simply to write creatively whatever it is one intends to write. Therefore, this course, while insisting upon the completion of assignments that are inspired by the traditional forms of creative writing, will not limit itself to those forms. Instead, the course will also examine, through practice, how any kind of writing can be done creatively. The themes or topics we will examine will be dependent upon what seems proper and useful to the human composition of the class. For example, we may examine the nature and causes of human warfare, postmodern alienation of the inner-cities or of rural life, intergender conflicts, racial polarities, the nature of language itself, etc. Students will be evaluated on the basis of several papers due throughout the term. They will have to write original material that cannot be found in any local "literary storage banks." We will examine and discuss various works by professional writers, as well as works by students. We will look at works by a variety of writers, including perhaps, Morrison, Bradbury, Poe, Tolstoy, Crane, Reed, Kingston, Soyinka, Achebe, Pinero, Kundera, Kafka, Twain, etc. But actual works we will examine are not yet selected. If one is lazy, don't register! (OyamO)
225. Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).
Section 101 – Argumentative writing might be more aptly described as persuasive writing or that kind of writing involving careful analysis and clear thinking which aims at the powerful and passionate assertion of ideas. In this course we will build on your background in writing clear, logical prose but plunge more deeply into thinking and writing about controversial topics demanding careful reasoning and strong analysis. We will look at essays of professional writers to examine how powerfully persuasive arguments are constructed and to see what might weaken arguments. We will devote considerable time to your essays, realizing that a good written argument necessarily entails revision and refinement. Expect to be "in dialogue" with critical thinkers and critical issues. Reading for the course will consist in essays from IN DEPTH: ESSAYISTS FOR OUR TIME, a course pack and student papers. Four papers of 3-4 page minimum and journals will be required. Consistent attendance and active participation in discussion are essential. Cost:2 WL:3 (Warner)
230. Introduction to Short Story and Novel. (3). (HU).
Section 101 – This course will aim to develop community definitions of genre – in this case, of the novel and short story – by looking at canonical and non-canonical forms of both. After spending the first week of class exploring our own twentieth century requirements for both genres (hopefully we'll get by the initial distinction that stories are shorter than novels), we'll spend the next seven weeks testing our own notions of what constitutes fiction by reading horror fiction, a form popular for at least 230 years (if not 6000). We'll explore a number of authors' constructions of horror and terror on the way, and if all goes well, this course should establish a basic understanding not only of the formal elements of fiction, but also how different kinds of fiction test the form which contains them. The course should also be fun, since we'll view a number of Hollywood horror productions on the way. Requirements: One short paper (2-3 pages), two longer ones (6-9 pp.), and a final. Texts: Walpole, Castle of Otranto, Shelley, Frankenstein, Stevenson, Dr. Jeckyll and Mr. Hyde, Stoker, Dracula, Gilman, The Yellow Wallpaper, What Did Mrs. Darrington See?, Carter, Saints and Strangers, and The Bloody Chamber, and one or two others. Cost:3 WL:1 (Michael Gamer)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 101 – This course provides an intensive study of the forms and effects, and some of the range, of the enormously rich English verse traditions. The goal of the course is to enhance both understanding and pleasure in the reading of verse. To those ends, we will examine the special effects – of form, of the heard music of language, of vocabulary, of topics – which make of English verse traditions the compelling and astonishingly varied experience they are. Students will on occasion attempt the writing of verse; most of our time, however, will be dedicated to the study of verse from the renaissance to the present. A special principle of selection this term will be an interest in poetry which explores its own alienation from other forms of social discourse. There will be short exercises, some writing of verse, two more formal essays of 4-6pp. each, and a final examination. WL:1 (Williams)
Section 102. 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. In the course we will explore poetic expression in as many ways as possible: through silent reading and reading aloud, through close analysis and more impressionistic response, through class discussion and individual study, and through various forms of writing (both spontaneously exploratory and more carefully argued). During the term, we will move from a general survey of poetic techniques and forms to a more detailed study of a selection of authors from the Renaissance to the present. For the former, we will use WESTERN WIND by John Frederic Nims. For the latter, we will use the NORTON ANTHOLOGY OF POETRY. To record your day-to-day interactions with texts, I will ask you to keep a poetic journal. More formal writing will include four (ungraded) exercises in poetic analysis and four (graded) papers (3-5 pages) on individual authors and poems. (Cost:2 WL:1) (Cureton)
Section 103. The work in the course includes these: (1) reading and rereading of assigned poems; (2) many short "overnight" written paragraphs and exercises based on assigned poems; (3) some short in-class impromptu written pieces; (4) at least one group project; (5) recitation to the class of at least fifty lines of memorized poetry; and (6) regular participation – at least twice weekly – in a computer course conference. There will be a handful of interruptible lectures during the term; most of the class meeting time will be given to discussion, often in small groups. Cost:1 WL:1 (Van't Hul)
270. Introduction to American Literature. (3). (HU).
Section 101 – This course introduces students to American Literature in various modes; short fiction – "Sonny's Blues" by James Baldwin; the novel – MEMBER OF THE WEDDING by Carson McCullers; a representative play by America's greatest playwright – DESIRE UNDER THE ELMS by Eugene O'Neill; and a generous sampling of poetry by Robert Frost, arguably the most "American" of poets. Students will be expected to engage themselves whole-heartedly in class discussion, and they will write three or four exercises during the term. There may be a final examination. Cost:1 WL:1 (Powers)
285. Introduction to Twentieth-Century Literature. (3). (HU).
Section 101 – DRAMATIC FORM IN A CHANGING SOCIETY This course will exam a number of plays in the modern repertory in order to understand the ways the Western theater responds to the world around it. In addition to considering formal questions of writing for a performing arts medium, the class will focus on the ways in which dramatic literature of this century reflects the changing society to which it belongs. Plays to be considered include DEATH OF A SALESMAN, WAITING FOR GODOT, MOTHER COURAGE, CLOUD 9, THE HOMECOMING, WETHERBY, and a number of other works selected from the American and Western European repertory. Cost:2 WL:1 (Brater)
Primarily for Juniors and Seniors
305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).
Section 101 – This course surveys the forms and functions of contemporary English. We will consider some of the major dimensions of English structure (orthography, phonetics, intonation, word formation, syntax, etc.) and how these structures characterize both English speakers and their linguistic purposes. During the term, we will explore the social and geographical dialects of Modern English (e.g., British vs. American English and Black English Vernacular), its professional jargons (e.g., the language of advertising, religion, law, and politics), and its situational varieties (e.g., the language of conversation, oral narrative, and literature) and will consider how our relation to these speech varieties can affect our actions and attitudes (e.g., our notions of 'good' English vs. 'bad'). Requirements for the course will include a language journal, a midterm, a final exam, and a project investigating some aspect of Modern English structure or use. (Cureton)
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
Section 101 – ELIZABETHAN AND JACOBEAN REVENGE TRAGEDY In this section of English 314, we will study selected examples of the Elizabethan and Jacobean revenge play, including THE SPANISH TRAGEDY, HAMLET, THE MALCONTENT, THE DUCHESS OF MALFI, THE MAID'S TRAGEDY, and THE REVENGER'S TRAGEDY. Class will be conducted as a combination of informal lecture and discussion, and active participation is a basic requirement. There will be a brief quiz when we begin each play. Students will give at least one oral presentation during the term, and write two essays of moderate length. Texts will be available at Shaman Drum Bookshop, 313 S. State St. Satisfies the Pre-1830 requirement for English majors. Cost:2 WL:1 (Mullaney)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
Section 101 – In this course, which possibly could be subtitled "a sense of humor certainly doesn't hurt," participants will engage in a dialectic regarding what constitutes the woman's life in a society determined to be ideologically democratic and egalitarian. Beginning with early-19th Century theorists and observers and continuing up into our time, the readings will examine the literary style and attitudes of women writers from multi-ethnic backgrounds and explore through prose, poetry, film, and fiction their unsentimental treatment of tough moral issues. Both "art" and the represented "life" will be our concern. Discussion based, close reading and consistent attendance are imperative to facilitate the exchange of ideas and will be expected. Texts include several novels, a play, and a course pack of shorter works (Churchill, Didion, Freeman, Gilligan, Gordimer, Kingston, Marshall, Munro, Porter, Slessinger, Walker and others). Brief in-class writings; two papers; final exam to be determined. Satisfies the New Traditions requirement for English majors. Cost:2 WL:1 (DePree)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
Section 101 – Homicide, Fiction and Myth: This course is interested in the ways in which narrative prose deals with provoking social facts. Homicide is certainly such a fact, and this course examines some of the very different ways in which imaginative writers have treated it. We will be reading Dostoevsky's Crime and Punishment, Faulkner's Light in August or Wright's Native Son, Truman Capote's In Cold Blood, and Mailer's The Executioner's Song. The course is designed to accommodate students from other departments who, though they have no extensive background in literature, have a lively interest in the way that our real and imaginary experiences of socially important phenomena are organized, and to what effect. Cost:3 WL:1 (Faller)
323. Creative Writing. Junior standing and written permission of instructor. (3). (Excl). May be repeated for credit.
Section 101 – FICTION: Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately thirty-five pages of reasonably polished fiction. Students who want to enroll in the course should get on the Waitlist at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. Cost:2 WL:1 (Ezekiel)
329. Practical English. (4). (Excl).
Section 101 – Don't take this course if you want an authoritarian instructor to provide you models for writing your resume. Practical English is a workshop that allows students a great measure of freedom in determining how they will structure their time and what they will write. But it also demands intense participation, commitment to peer groups for editing and grading (yes, grading), and willingness to use progressive revision for writing improvement. The workshop simulates a business or professional environment in which work is done both individually and collaboratively and in which writing and speaking are linked. Students typically produce such practical forms as letters, reports, memos, summaries, proposals, descriptions, critiques, speeches, advertisements, essays, minutes, and evaluations. Requirements: attendance at all class sessions and at group meetings outside of class; timely completion of a set of standard assignments and of a major corporate project chosen by the workshop (total minimum 25 pages of finished prose plus delivery of two speeches). No exams. This course fulfills the upper-level writing requirement. You must be present at both of the first two sessions to hold your CRISPed place. Texts: PRACTICAL ENGLISH HANDBOOK, Watkins/Dillingham (1989), and a small course pack. Cost:2 WL:1 (Crawford)
355. Core I (Great English Books). (4). (Excl).
Section 101 – We'll be reading some of the best literature in English from the earliest period through the mid-17th century. Texts are THE WANDERER and SIR GAWAIN AND THE GREEN KNIGHT in translation; Middle English selections from Chaucer's CANTERBURY TALES and from Malory's MORTE DARTHUR; Book One of Spenser's FAERIE QUEENE; poems by Sidney, Shakespeare, Donne, and Herbert; Jonson's VOLPONE; and selections from Milton's PARADISE LOST. Themes that surface include the spiritual journey, courtly love, and free will. I'll provide lively historical and intellectual background and help with the language, but I prefer that students ferret out interpretations through discussion rather than receive lectures passively. Requirements: class attendance and participation based on careful reading; quizzes, student discussion panels, and frequent short writings; a final exam. Text: NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th edition, vol. 1; small course pack. You must be present at both of the first two sessions to hold your CRISPed place. Satisfies the Pre-1600 requirement for English majors. Cost:2 WL:1 (Crawford)
357. Core III (Great English and American Books). (4). (Excl).
Section 101 – In this half-term (truncated) section of Core III, assigned reading will include a) a very few literary- theoretical essays (Course Pack); b) some 19th and 20th century English and American poets (including Arnold, Hardy, Dickinson, Frost, Eliot, Yeats, Auden); c) several 19th- and 20th-Century makers of short and long fiction (including Melville, Conrad, Joyce, Twain, Faulkner, Hurston, Morrison). In meetings of the class: a few lectures; and much discussion. All written work (to include weekly short pieces, occasional short essays, and a take-home final exam) will be entered for all members of the class to read in a (computer) Course Conference – regular participation in which is an unwaivable requirement for credit in the course. Cost:4-5 WL:1
367. Shakespeare's Principal Plays. (3). (HU).
Section 101 – This course will focus on reading Shakespeare with an eye toward performance. Students will become acquainted with techniques of playwriting and conventions of tragedy and comedy as they apply to Shakespeare's work. Plays to be studied include: HAMLET, OTHELLO, A MIDSUMMER NIGHT'S DREAM, MACBETH, KING LEAR, MEASURE FOR MEASURE, and THE WINTER'S TALE. This is a lecture course, but class sessions will also rely on several video productions for illustrative material. Student evaluations will be based on written assignments as well as examination. Satisfies the Pre-1830 requirement for English majors. (Cost:2) (WL:1) (Brater)
370. Studies in Medieval and Renaissance Literature. English 350 recommended. (4). (Excl). May be repeated for a total of 8 credits.
Section 101 – This course undertakes a study of a few major works from the earlier periods (Medieval and Renaissance) of English literature. We will study Chaucer's Canterbury Tales entire (in modern translation), Milton's Paradise Lost entire, and eight selected plays representative of medieval and renaissance English drama. Course work will require consistent and prepared participation in class; the writing of six fairly short papers (two of these in class, four outside); a final examination. Satisfies the Pre-1600 requirement for English majors. Counts as former concentration requirement Core I. Cost:2 WL:1 (McNamara)
371. Studies in Literature, 1600-1830. English 351 recommended. (4). (Excl). May be repeated for a total of 8 credits.
SECTION 001: Literature and Community: Revelation, Reason, and Feeling: In this course we will examine major works of literature which explore the bases of community. At the beginning of the course we shall observe the ways in which the Bible was used by Milton, Bunyan, and others to structure and celebrate social expectations. We shall then examine works by Locke, Pope, Johnson, and Voltaire which celebrate reason as the great enabler of social cohesion. Finally we shall examine the complex attempts to suggest that feeling is really the great bond of social life: here the German and English romantics will be the focus of attention: Wordsworth, Coleridge, Schiller, and Shelley with be among those whose works figure recurrently. We will be interested throughout in observing the ways in which the social doctrine developed relates to the literary forms of the works in which they are expressed. So much as time allows, we will relate the literary works we study to music and the visual arts which display some of the same formal and cultural emphases. The course will require two or three essays, and a final examination. WL:1 (Williams)
372. Studies in Literature, 1830-Present. English 351 recommended. (4). (Excl). May be repeated for a total of 8 credits.
Section 101 – Despite its astonishing technological achievements - certainly without parallel in former epochs – the 20th century has been characterized as the "Age of Anxiety," and its most notable literature abundantly reflects this sense of mankind's alienation from the inner self and from the outer world. This course will examine representative English and American texts which powerfully treat themes of anomie, entropy, and isolation. The approach will be contrastive, achieved through clusters of novels exploring similar cultural, social, and intellectual "problems." For example: colonialism/imperialism in Conrad's HEART OF DARKNESS (Africa) matched with Graham Greene's THE QUIET AMERICAN (Vietnam); the woman in rebellion against strangling societal norms in Kate Chopin's THE AWAKENING, Wharton's CUSTOM OF THE COUNTRY, and Lawrence's LADY CHATTERLY'S LOVER; the deracinated/isolated protagonist in his failed pursuit of community in Hemingway's FAREWELL TO ARMS and Faulkner's LIGHT IN AUGUST; the quarrel with God reflected in Joyce's DUBLINERS and Flannery O'Conner's COLLECTED STORIES; and finally the demoralization resulting from media saturation and mass culture in Orwell's KEEP THE ASPIDISTRA FLYING, Nathanael West's DAY OF THE LOCUST, and Updike's RABBIT IS RICH. On any good day, about 90% class discussion and 10% positioning lecture. Required – commitment (reasonable attendance and oral participation), along with the usual round of short and longer papers, a notebook of responses to readings, and a final exam. Non-majors welcome. Counts as former concentration requirement Core III. Satisfies American lit. requirement for English majors. (Eby)
413/Film-Video 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.
Section 101 – THE HORROR FILM. We shall focus on the horror film as a specific genre of motion picture, discussing a number of films from diverse perspectives. We shall be primarily concerned with the psychological impact of these films on audiences, their cinematic techniques, their cultural and social backgrounds, and their place in the history of the genre. These films will often be a starting point for an examination of what people fear and how they attempt to handle their fear through superstition, religion, and art. Among the films to be seen are THE HAUNTING, PSYCHO, KING KONG, BRIDE OF FRANKENSTEIN, THE HORROR OF DRACULA, CARRIE, THE EXORIST, AND ALIEN. Students will be required to read a number of literary texts, also write several short papers, and take a final examination. (Konigsberg)
417. Senior Seminar. Senior concentrator
in English. May not be repeated for credit. (4). (Excl).
Section 101. KING LEAR: TEXT, CRITICISM, PERFORMANCE This senior seminar will focus on a single Shakespearean tragedy, KING LEAR. We will begin with an initial, intensive reading of the play and comprehensive discussion of it. Subsequently, we will reread the play in combination with a wide variety of critical interpretations and approaches, ranging from Victorian criticism to recent New Historicist and Feminist scholarship. We will also be viewing a number of influential productions of the play and discussing these. Active participation and regular attendance are essential, as is a genuine interest in the opportunity to study an individual Shakespearean play in depth. All students will be responsible for at least one oral presentation on the assigned readings or a scene performance in class; there will be a relatively short midterm essay, and a longer final essay. Texts will be available at Shaman Drum Bookshop, 313 S. State St. A course pack will be available at the beginning of the term at Alphagraphics, 715 N. University. This course satisfies the Pre-1830 requirement for English majors. It also fulfills the ECB upper-level writing requirement. Please add the ECB modifier at CRISP. Cost:3 WL:1 (Mullaney)
433. The Modern Novel. (3). (Excl).
Section 101 – This course offers a study of the modern novel in English as represented by four more or less conscious literary descendants of Gustave Flaubert. We will read and discuss THE GOOD SOLDIER by Ford Madox Ford and TO THE LIGHTHOUSE by Virginia Woolf – two English writers; CANE by Jean Toomer – an African American; and THE DIVINERS by Margaret Laurence – a Canadian. There will be introductory lectures, but the course will depend on informed discussion. There will be two or three written exercises and perhaps a final examination. Students ought to have had one lower division course in English or American fiction as preparation for this course in the modern novel. Cost:2 WL:1 (Powers)
473. Topics in American Literature. (3). (Excl).
Section 101 – COLONIAL LITERATURE IN AFRICA AND THE AMERICAS This course will examine/contest/plus whatever you wish issues related to "coloniality" and "post-coloniality" by way of a comparative reading of relevant literature from the United States and Africa. (Please note that the limitations of the Half-Term does restrict us to a specific USA focus in dealing with "the Americas"). Our approach will therefore call for us to compare/counter-point/parallel, etc. narratives such as Saul Bellow's HENDERSON THE RAIN KING and Camara Laye's THE RADIANCE OF THE KING; Nash Candelaria's MEMORIES OF THE ALHAMBRA and Yambo Ouologuem's BOUND TO VIOLENCE; Maxine Hong Kingston's WOMAN WARRIOR and Ama Ata Aidoo, OUR SISTER KILLJOY, REFLECTIONS OF A BLACK-EYED SQUINT; Walt Whitman's American and D.T. Niane's Malinke epics of nation-building; Ralph Ellison's INVISIBLE MAN and Ayi Kwei Armah's WHY ARE WE SO BLEST? Time permitting, we could try out a comparative reading of expatriation in T.S. Eliot and negritude re-patriation in Leopald Sedar Senghor as well as the "southern exposures" that we get in Faulkner's LIGHT IN AUGUST and Alan Paton's CRY, THE BELOVED COUNTRY. Please take note that the texts will have to be read and covered as coupled. Do plan accordingly. There will also be a course pack which will highlight relevant theories, approaches, background materials, e.g., New England Puritan divines and Sahelian Malinke griots; God(s) and charter myths of imperialism; race(s) and colonialism; native populations in the age of colonialism, etc. For the record, class sessions will need to engage in a lot of group discussions. At the end, major grade will depend on such participation (by way of reports, etc.) and on a major comparative paper. Satisfies the New Traditions req. for English majors. Cost:3 WL:2 (Johnson)
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