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.
Section 201 – This section will concentrate on writing poetry, short fiction and short drama in traditional and experimental forms. Class discussion will mainly concern writings by class members, but some pieces by other writers will also be considered. Weekly writing projects and journal explorations will be expected. Cost:1 WL:1 (Wright)
225. Argumentative Writing. English 125
or 167 or equivalent. (4). (HU).
Section 201. This course will begin by questioning the very interest which brings us together: the nature of argumentative discourse. What exactly is an argument? What are its features? Supposing such features can be known, why should we bother to learn them? And once learned, how should they be employed in our writing? Who uses argument, in what manner, and for which reasons? Such questions suggest that for our purposes in this course, "argument," as found in "argumentative writing," will not be treated as a GIVEN. In truth, there are tons of books out there to tell us precisely what an argument is, how one should be written, defended, and so on – if that is all we really want to know, we don't need this course to locate a definition, or tell us how to frame it in written form. Rather, out "opening gambit" will use questions as these to keep our conversing, as well as our composing, from becoming some kind of predictable, formulaic, enterprise. On the other hand, we will need to do more than ask questions. Hopefully, we will formulate some answers too, or at least some coherent responses. To that end, I propose we read from writers who have thought about the language of argument in imaginative and useful ways. Linguist George Lakoff, for example, encourages us to consider the conceptual metaphor ARGUMENT IS WAR, and how this metaphor fosters certain actions (actions deeply embedded in our culture) which we perform whenever we "argue." We will also read from writers who may not have given much thought to these questions, but who will be useful to us anyway for reasons I hope to make clear. Perhaps most importantly, we will attempt to create coherence from reading and critiquing each others' writing, understanding we each have points to make, and definitive ideas about how to make them. REQUIRED TEXTS: course pack; a good handbook; ZEN AND THE ART OF MOTORCYCLE MAINTENANCE, Robert Pirsig. REQUIRED WORK: 3 or 4 papers (3-5 pages); daily critiques of others' writing; attendance and active participation in class; extensive and intensive reading. (Stratman)
230. Introduction to Short Story and Novel. (3). (HU).
Section 201 – Joan Didion says that "We tell ourselves stories in order to live." In this course we will explore the idea of storytelling – how we do it, why we do it, and what function it serves. Through various short stories and novels, we will look at memory and myth-making as ways of creating or understanding history and ourselves. Discussions throughout the term will raise questions about the acts of speaking and writing and the roles they play in establishing a sense of tradition, culture, community, and the future. In this course we will try to read closely, in order to pay attention to fictional structures as well as to themes. Requirements will include: active participation in class discussion, two analytical essays (5-6 pp.), and a comprehensive final exam. Although still tentative, the readings will be selected from the works of: Grace Paley, Jorge Luis Borges, Zora Neale Hurston, Nathanial Hawthorne, Gloria Naylor, Delmore Schwartz, Toni Morrison, Bruno Schulz, and Isabel Allende. Cost:2 WL:1 (Grauer)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 201 – This is an introductory course in the art of poetry. We will acquire a critical vocabulary to experience and talk about a wide range of masterpieces in the lyric, some of which will be post-modern and make it difficult to say "something important about something." But that is our challenge, to develop over the term tough minded yet sensitive ways to respond to language at its most heightened and concentrated moments of expression. I will introduce you with a minimum of fuss to a useful terminology with which to sharpen and direct your perceptions of poetic techniques and effects, of particular poets and poems. We will try not to forget that, in the words of one critic, "art does not exist to be argued about, but to be perceived and assimilated" (some of you may want to argue with that). Be prepared to talk, not simply exult. A series of short exercises, and a longer essay at the end. Texts: THE NORTON ANTHOLOGY OF POETRY (complete); John Hollander, RHYME'S REASON. Cost:1 WL:1 (Herold)
270. Introduction to American Literature. (3). (HU).
Section 201 – We will study authors and traditions of American Literature from the mid-nineteenth century to the present, beginning with Emerson, Thoreau, Hawthorne, Whitman, and Dickinson. Written work will include journals, short reports, and a longer paper. Cost:2 WL:1 (Wright)
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.
Section 201 – STUDIES IN 16TH AND 17TH CENTURY LYRIC: This is a course in the Golden Age of English poetry. We will read representative lyric poets of the sixteenth and early seventeenth century – Wyatt, Surrey, Spenser, Marlowe, Sidney, Shakespeare, Donne, Jonson. Our close reading will be informed by an historicist interest in the social contexts in which this Renaissance art took shape. Lively classroom discussion, several essays, and a final exam. Coursepack available at Kinko's; Shakespeare's Sonnets (Penguin) at Shaman Drum. Satisfies the Pre-1830 requirement for English majors. Cost:2 WL:1 (Herold)
356. Core II (Great English and American Books). (4). (Excl).
Section 201 – Core II surveys English and American literature from 1660 to about 1850. Specifically, in this section, we will study some Restoration Drama (THE COUNTRY WIFE, THE WAY OF THE WORLD), Swift's GULLIVER'S TRAVELS, the poetry of Pope, Fielding's JOSEPH ANDREWS, Austen's PRIDE AND PREJUDICE, some of the Romantic poets, Brontë's WUTHERING HEIGHTS and Hawthorne's THE SCARLET LETTER. There will be a midterm and final exams and two five-page papers. Satisfies the Pre-1830 requirement for English majors. Cost:2 WL:1 (Beauchamp)
367. Shakespeare's Principal Plays. (3). (HU).
Section 201 – The class will read a variety of Shakespeare plays, focusing on historical, cultural, textual, and performative questions. The following plays will be studied: HAMLET, KING LEAR, MACBETH, OTHELLO, A MIDSUMMER NIGHT'S DREAM, HENRY V, TWELFTH NIGHT, MEASURE FOR MEASURE. Where possible, students will be asked to see several films of the same play and to respond to differences in production values and performances. There will be two papers and a final examination. Satisfies the Pre-1830 req. for English majors. Cost:3 WL:1 (Ben-Zvi)
370. Studies in Medieval and Renaissance Literature. English 350 recommended. (4). (Excl). May be repeated for a total of 8 credits.
Section 201 – RENAISSANCE DRAMA AND MODERN RE-VISIONS: The course will study selected plays of Shakespeare and modern revisions of these texts. An analysis of the historical, textual, and theatrical elements in the Renaissance works will provide a basis for an investigation of the uses made of Shakespeare in modern offshoots. Among the plays to be studied are the following: HAMLET, ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Tom Stoppard), HAMLETMACHINE (Heiner Muller); KING LEAR, LEAR (Edward Bond), ENDGAME (Samuel Beckett); MACBETH, MACBETT (Eugene Ionesco), MACBIRD! (Barbara Garson) and KABUKI MACBETH. Films of the plays will be made available, out of class, to supplement the readings. There will be two papers and a final examination. Satisfies the Pre-1600 req. for English majors. Counts as former concentration requirement Core I. Cost:3 WL:1 (Ben-Zvi)
372. Studies in Literature, 1830-Present. English 351 recommended. (4). (Excl). May be repeated for a total of 8 credits.
SECTION 201 – LITERATURE OF CONSCIOUSNESS: In this course, we will be examining texts I've grouped under the flexible heading of "literature of consciousness." We will read selected texts in British, Irish, and American literature from 1830 to the present. The fiction readings are likely to include: Brontë, JANE EYRE, Joyce, "The Dead," Faulkner, short stories, Fitzgerald, stories from BABYLON REVISITED, O'Brien, GOING AFTER CACCIATO, Robinson, HOUSEKEEPING. The poets are likely to include Tennyson, Browning, Rossetti, Yeats, Eliot, Hughes, Auden, Bishop, and Simpson. Class meetings will combine lectures and discussion, with timely additions of films and (if possible) poetry readings. Required writing: response papers, two 5-7 pages essays, a midterm, and a final exam. Counts as former concentration requirement Core III. (Heininger)
417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (4). (Excl).
Section 201 – CONTEMPORARY AMERICAN FICTION: 1950-1990: By cultivating thematic, formal, and historical approaches, we will read selected American fiction written from about 1950 to 1990, especially those fictions that explore, in Joyce Carol Oates' words, "the moral and social conditions of my generation." The main topic I propose to investigate is fictions about the lives of families: the ways in which familial patterns shape individual lives by forging connections to larger groups, and alternatively, how "domestic particulars" change those who live at a tangent from family, community, and nation. I expect that other leading ideas will come from the interests of the members of the seminar. The primary readings are likely to include: Cheever, stories; Carver, stories; Oates, BECAUSE IT IS BITTER, AND BECAUSE IT IS MY HEART; Silko, CEREMONY; O'Brien, GOING AFTER CACCIATO; Robinson, HOUSEKEEPING. We will also select short fiction from an anthology. A course pack will be required reading. Required writing: occasional brief responses; two essays, one medium-length (5-7 pages), one longer (12-15 pages); an oral presentation on a writer or writers; a final exam. Satisfies the American Lit. requirement for English majors. (Heininger)
433. The Modern Novel. (3). (Excl).
Section 201 – The Modern Novel – not to be confused with the contemporary novel, a different kettle of fiction – took shape in the first decade of the twentieth century and had run its course (more or less) by the end of the 40s. We will study some of the works that defined the Modern (or Modernist) novel. I have chosen short to medium length works, to allow us to investigate them in some depth – at least as much as a summer term allows. The readings will include Conrad's HEART OF DARKNESS, Mann's DEATH IN VENICE, Joyce's PORTRAIT OF THE ARTIST AS A YOUNG MAN, Woolf's TO THE LIGHTHOUSE, Kafka's THE TRIAL, Hemingway's THE SUN ALSO RISES and Faulkner's THE SOUND AND THE FURY. There will be midterm and final exams and a term paper of about ten pages. Cost:2 WL:1 (Beauchamp)
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