For all English classes, registered students must be present at each of the first two meetings to claim their places. Any students 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)
125. College Writing. ECB writing assessment.
Section 101. Because of the generous time available to us, students will be permitted to choose on the first day what materials they prefer as the basis for their writing. Possible options include: the use of films; the use of one longer or several shorter literary texts; eclectic materials that do not share one "theme"; no materials whatsoever, with student writing as the reading material and object of every meeting; any other reasonable, workable option that is suggested and captures the regard of the class. The required text is Strunk and White's The Elements of Style, 3rd edition with index, which is, though not a perfect text, simple, reliable, and cheap. It will be available at Shaman Drum Bookshop. Between four and six essays will be required depending upon the elected curriculum. There will be substantial drafting and revision, with at least one rewrite required. WL:1 (Napolitano)
Section 102. This course is designed to help students develop their skills in careful in-depth analysis and persuasive essay writing. We will read and discuss articles, essays, and stories that contribute to public arguments in such fields as history, art, science, pop culture, sociology, anthropology, and world politics. We will also spend a considerable amount of class time on critiques of each other's essays. Our goal will be to ask the same questions of our own writing that we will be learning to ask about "professional" arguments. What are an author's persuasive language manipulation, etc.? Attendance and participation will be very very important. Required work: Five 3-5 page papers with an option to rewrite two papers. Several 1-page critiques. Required Texts: Course pack. WL:1 (North)
223. Creative Writing. Completion of the
Introductory Composition requirement. (Excl). May not be repeated
Section 101. This course will be concerned with three tasks: sharpening your critical facility, becoming acquainted with the tools of good writing, and producing a body of poetry and fiction by the end of the term. With respect to the first of these tasks, you will read a number of short stories and poems, most of which (though not all) will be recent vintage. In pursuit of the second goal, you will be assigned a number of written exercises. Finally, these concerns should converge in the central task of the course: using what you have learned about reading and writing to produce 6-8 pages of poetry and 15-20 pages of fiction before term's end. As few cliches are more true than that one which states "All writing is rewriting," revision of your poems and stories will be expected. If you cannot revise your work, do not take this class. In short, as a community of writers functioning in the workshop format, your goal will be to acquire the skills necessary to write competent, expressive poetry and fiction. Required texts: The Generation of 2000, William Heyen, ed. and New American Short Stories, Gloria Norris, ed. WL:1 Cost: (Hanley)
Section 102. This class will focus upon the writing of poetry and fiction as a discipline and means of creative expression. Each student will be required to write (and re-write) prolifically during the term, with an emphasis upon striking a balance between non-judgmental creative process and the channelling of that process into a crafted form. Through discussion of assigned readings and informal lecture, the standards for your own work will be established. Your writing will be discussed in a workshop format, making your attendance and active participation an absolute requirement for the course. You will be expected to write 6-8 poems and 15-20 pages of fiction. Required texts: The Vintage Book of Contemporary American Poetry, McClatchy, ed. and Writing Fiction, Burroway. WL:1 (Kanapaux)
225. Argumentative Writing. Completion
of the Introductory Composition requirement. (Excl).
Section 101. In this class, we will read, write about what we've read, read and write about what we've written about what we've read, and talk about all of it. Clear enough? Reading: We will read essays taken from current journals and anthologies and analyze their arguments, examining the ways in which writers address their audiences, outlining the logical structure of the essays, and evaluating the assumptions lurking behind the arguments. We will apply the same careful analysis to essays written by members of the class Writing : Each member of the class will write 5 essays during the course of the term which advance and develop his or her own ideas and arguments in response to the professional essays. Each member of the class will submit one essay to the class for public conversation and criticism; for each of these student workshop days, every member of the class will write a short critique of the essay submitted. These written critiques will not, however, substitute for active participation in the workshop discussion. Talking : Class participation is absolutely essential! The more energetic our conversations are, the more challenging our analysis will be. The complexity of thought and depth of insight we achieve in class discussion will translate directly into the complexity and depth of our essays. Our readings and writings will not be abstract academic exercises – the object is to understand how we constantly engage with written and verbal language, as we encounter arguments that attempt to influence the decisions we make. If we can recognize how the power of language affects our lives, we can also learn how to use the power and project our own voices and arguments. Requirements: 5 4-5 page essays, written critiques of other students' essays, and in-class writing exercises. Texts: TBA – possibly a course pack, possibly an anthology. WL:1 (McCuskey)
Section 102. This course, the continuation of an Introductory Writing Course (such as 125), focuses specifically on how to construct and sustain an argument in your writing. Through our readings, discussions, and writing assignments will we explore the notion of "argument" in the fullest sense of the term. What do we consider to be an "argument"? How do we determine what is not an "argument"? Why do we even want to "argue"? Our reading assignments will be drawn from a wide range of cultural materials and academic disciplines. WL:1 (Bailey, A.)
230. Introduction to Short Story and Novel. (HU).
Section 101. Work in class will be devoted to discussion of particular works of fiction, such as: Jane Austen's Pride and Prejudice, Mark Twain's Huckleberry Finn, Leslie Silko's Ceremony, short stories and longer works by modern writers like Joyce, Faulkner, Baldwin, and Oates. The aim of discussion will be to enhance your understanding and appreciation of literature. We will read both short stories and novels. In addition to the final exam, there will short written exercises and papers, with perhaps a midterm. WL:1 (Lenaghan)
239. What is Literature? (HU).
Section 101. This course explores some fundamental questions about the meaning and significance of the study of written and oral "literature." In addition to examining the historical development of literary studies itself, we'll explore some of the varying conceptions of and attitudes toward literature in different periods and cultures. We'll explore some basic theories and methods that are used to think about and write about literature both by reading accessible theoretical texts and by writing about a variety of literary-critical forms from different periods and cultures. By examining how literary and critical forms and practices shape and are shaped by changes in technology (such as the invention of print and t.v.), in socio-political institutions (such as the university), in economic structures, and in cultural customs and beliefs, we'll analyze what our own current literary-critical practices reveal about American cultural habits. Discussion format. Brief weekly writing assignments, occasional oral presentations, a journal, and a term essay-project. WL:1 Cost:3 (Ross)
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (HU).
Section 101. The aim here will be to enhance our enjoyment of poetry through an understanding of its nature and of how it achieves its particular effects. What poetic language is, how rhythm, rhyme, and meter give pleasure and highlight meaning in poetry – these are some of the subjects we will study, along with metaphor and other kinds of figurative language. We will also study how a poem means one thing by saying something different (irony). The emphasis will be on informed, close reading. In the course of studying poetry, it is hoped that we will learn to pay closer attention to the world around us. NOTE: This is a course that is subject to change and modification as the semester proceeds. You cannot do well just by following the syllabus and assuming you know what it is happening. You are expected to participate and to keep in touch day by day with what is going on. Most Wednesdays a short quiz will be given on details of what we have been studying. These quizzes and other brief assignments will count for 25% of your total grade. You will also be assigned several two-page papers, two five-page papers and a take-home final exam. Textbooks: Elizabeth Bishop, The Complete Poems: 1927-1979. Seamus Heaney, Selected Poems. Seamus Heaney and Ted Hughes, The Rattlebag. Strunk and White, The Elements of Style. WL:1 Cost:2 (Tillinghast)
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. WL:1 Cost:2 (Cureton)
270. Introduction to American Literature. (HU).
We will study the diversity of voices in American writing. We will attempt to identify and understand themes and styles that tell us what unite us as a people and what divides us as a nation of diverse people with radically different economic, ethnic, racial, sexual, and educational experiences. We will try to understand the uses and importance, if any, of literature in our country. We will test with each other our individual reactions to the reading, learning together to read and talk about our reading with increased sensitivity. Texts will include: Anaya's BLESS ME ULTIMA, Cervantes' EMPLUMADA, Cisneros' HOUSE ON MANGO STREET, plays by El Teatro Campesino, Baraka's DUTCHMAN and THE SLAVE, Momaday's HOUSE MADE OF DAWN, Fitzgerald's THE GREAT GATSBY, Okada's NO NO BOY, Naylor's THE WOMEN OF BREWSTER PLACE, Walker's MERIDIAN, O'Connor's EVERYTHING THAT RISES MUST CONVERGE, poetry by Levertov, Rich, and Frost. Emphasis will be on discussion. The nature and timing of papers and exams will be decided together by teacher and the class. There will be opportunities for group and creative projects. There will also be a lab fee. WL:1 Cost:2 (Alexander)
Primarily for Juniors and Seniors
301. The Power of Words. (Excl).
The main work of the course will be to study and to write in response to five or six novels, most by American authors of the twentieth century, one of them a current best seller. Weekly interruptible lectures, numerous classtime exercises, and much classtime discussion will focus on academic and other genres of writing "about" literature. It will be one of my main efforts to probe the "about" in "writing about" fiction. In addition to assigned reading, the main work of the course will be the writing of (a) short weekly "Reader's Responses" to parts and features of currently assigned novels, (b) bi-weekly essays, and (c) short critical responses to the essays of classmates. The written work will be entered in the Course [computer] Conference for all members of the class to read. The take-home final exam will be an end-of-term "review essay," occasioned by a CURRENT best-selling novel of the student's choice. This course fulfills the ECB upper-level writing requirement. WL:1 (Van't Hul)
305. Introduction to Modern English. Recommended for students preparing to teach English. (HU).
This course is a survey of English linguistics with applications to textual analysis. We will work through overviews of English phonetics, phonology, prosody, morphology, syntax, and text organization and explore how these descriptions of English structure can be used in understanding 1) current uses of the language and 2) current social and geographical varieties. As time allows, our applications will include prescriptive usage, the language of poetry (sound orchestration, rhythm, poetic syntax), the language of prose fiction, the language of conversation, the language of pulpit and political oratory, the language of advertising, the language of bureaucracy, American dialects (with special reference to Appalachian English and the Black English Vernacular), and varieties of International English (British, Scottish, Irish, etc.). Requirements for the class include weekly exercises and two medium-length papers (5-10 pages) of textual analysis. The first paper will address a written text; the second, a spoken text. Our readings will come from a combination of course packs and texts. Texts: Sidney Greenbaum, A College Grammar of English; Deborah Tannen, Talking Voices; Walt Wolfram and Donna Christian. Appalachian Speech; Peter Trudgill and Jean Hannah, International English; William Labov, Language in the Inner City. WL:1 Cost:3 (Cureton)
315/Women's Studies 315.
Women and Literature. (HU). May be repeated for a
total of 6 credits with department permission.
Women Writing from the Periphery. This course focuses primarily on the works of postcolonial and minority women writers who are concerned with rewriting the 'master narratives' of slavery, colonialism, race and nation. The artistic processes of decolonialization emerge as a continuing dialectic between hegemonic systems of representation and peripheral subversion of them. Significant attention will be paid to the ways in which these women writers create a space within and between these two worlds; and also to the ways in which they negotiate the charged terrain of the 'public' and 'private' spheres. Authors include Jean Rhys, Olive Senior, Lorna Goodison. The course will focus on four collections of short stories. Texts: Jean Rhys, The Collected Short Stories; Lorna Goodison, Baby Mother and the King of Swords; Olive Senior, Summer Lightning; C. Esteves, Green Cane and Juicy Flotsam: Short Stories Caribbean Women. This course satisfies the New Traditions requirement for English concentrators. WL:1 (Gregg)
317. Literature and Culture. (HU). May
be repeated for credit with department permission.
Section 102. Literature and Culture of Ireland. This course presents for study the literature of Gaelic Ireland in translation, from early saga to modern poetry and fiction. We will read translations of the chief heroic saga, The Cattle Raid of Cooley; of early Irish religious and nature lyric; of medieval satire; of later bardic verse; of the eighteenth-century masterpieces, Lament for Art O'Leary and The Midnight Court; of love poems and folk songs; of twentieth century poetry and prose fiction by the men and women who have continued the tradition of writing in Irish Gaelic. An outline history of Gaelic Ireland will be given to furnish context for the literature. Two short papers, one hour exam, one final examination. This course satisfies the New Traditions requirement for English concentrators. WL:1 (McNamara)
318. Literary Types. (HU). May be repeated
for credit with department permission.
Section 101. The Anglo-American Tradition of Detective Fiction. This course will examine a wide range of detective novels both as form and as social metaphor. Class sessions will examine the prose, discuss the reasoning, the images, the plots, the abstractions of character and the puzzles that combine in conclusive (or, sometimes, inconclusive) form. In addition, the novels will be discussed as metaphors for the larger society they comment on. We will begin with the two great nineteenth-century progenitors of the form: Edgar Allen Poe and Wilkie Collins. Then to Conan Doyle. Then to fiction of the "Golden Age" (1926-40) with tentative representation in novels by Agatha Christie, Francis lles (Anthony Berkeley), John Dickson Carr, Ngaio Marsh, Dorothy Sayers, Nicholas Blake (Cecil Day-Lewis), Dashiell Hammett, Raymond Chandler. The French may be represented in George Simenon and Robbe-Grillet, the Scandinavian in Per Wahloo and Maj Sjowall. Tentative possibilities for more recent examples: Michael Gilbert, Ross MacDonald (Kenneth Millar), John D. MacDonald, P.D. James, Ruth Rendell, Sue Grafton, Sara Paretsky. Short two or three page papers every two weeks or so, a longer paper using secondary sources to discuss social, psychological, historical, or religious implications of the form. A final examination imitating kinds of deductions involved. WL:1 (Gindin)
367. Shakespeare's Principal Plays. (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 production. 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. Satisifes the Pre-1830 requirement for English concentrators. WL:1 Cost: 2 (Jensen)
370. Studies in Medieval and Renaissance Literature.
(Excl). May be repeated for a total of 8 credits.
Medieval English Romances. The romance was a French invention of the twelfth century. Fusing stories of adventure and that kind of love we now call romantic, it quickly became popular all over Europe, representing and analyzing a new kind of ideal life. The greatest English examples of the type were written some two hundred years later and are, variously ironic, variations on romance themes. In this course our primary focus will be on three of these works: Chaucer's Troilus and Criseyde, "Sir Gawain and the Green Knight", and Malory's Morte D'arthur. We will also read a number of other works, such as the Lancelot of Chretien de Troyes, the Romance of the Rose, and perhaps some Arthurian texts, both as independent works and as context for the English romances. This will be a discussion course. There will be a final exam at the scheduled time, one hour exam, and either a paper or a second hour exam. There will also be occasional in class written exercises. The grade will be an average of the exams and paper. Satisifes the ECB upper-level writing requirement and the pre-1600 requirement for English concentrators. WL:1 Cost:2 (Lenaghan)
371. Studies in Literature, 1600-1830. (Excl).
May be repeated for a total of 8 credits.
Section 101. Revolutionary Writing in the 1790s. This course explores the decade of the 1790s as a pivotal moment in British literary and cultural history, a moment poised between the possibility of revolution and the reality of reactionary politics. Just as the 1790s was a decade of revolutionary political activity, it was also a time of literary experimentation when writers attempted to burst old patterns of social behavior by forging new forms of writing. We'll examine how the intellectual and political trends of the eighteenth century (such as Enlightenment thinking, sexual libertinism, orientalism, religious enthusiasm, the cult of sentiment, the parliamentary reform movement, and commodity capitalism) converge in the writing of the 1790s, and how this volatile decade projects and gives way to some of the dominant trends of the following century (such as intensified class rivalry, nationalist imperialism, and reform in politics, education, and labor). We'll read a wide range of genres, including the radical political novel, the domestic novel, the gothic romance, the political tract, the philosophical inquiry, the radical dissenting sermon, the ballad, the nature poem, the scientific poem, the psychological tragedy, the travel letter, and the children's story. Writers include Burke, Paine, Wollstonecraft, Godwin, Richard Price, Joseph Priestley, H. M. Williams, Elizabeth Inchbald, Hannah More, Barbauld, Erasmus Darwin, Monk Lewis, Fanny Burney, Blake, Southey, Wordsworth, and Coleridge. Several short essays, occasional quizzes, weekly question assignments, and class participation required. Be prepared for heavy reading schedule. This course satisfies the ECB upper-level writing requirement and the Pre-1830 requirement for English concentrators. WL:1 Cost:4 (Ross)
372. Studies in Literature, 1830-Present. (Excl).
May be repeated for a total of 8 credits.
Section 101. We will read some short stories, a few poems, and several novels of the late nineteenth and early twentieth centuries by English and (mainly) American authors, several of these among them: Chopin, Conrad, Faulkner, Hardy, Hawthorne, Hurston, Joyce, Melville, Morrison, O'Connor, Steinbeck, Twain, Updike, Welty, Yeats. I will speak an interruptible lecture to the class on one day of each week. To most meetings I will bring topics for discussion – some in small groups. Written work will include weekly "Readers'-Responses " to currently assigned readings, occasional responses to classmates' writing, bi-weekly essays, a midterm and a final exam. All of the writing will be entered in the [computer] Course Conference for all members of the course to read. Regular participation in Course Conference is an unwaivable requirement for credit in the course. Satisfies the American Literature requirement for English concentrators. WL:1 (Van't Hul)
411. Art of the Film. (HU). May be repeated
for credit with department permission.
Section 101. Vietnam and the Artist. A study of efforts by artists, primarily filmmakers, to understand and, in some cases, to prevent recurrence of such events as the war in Vietnam. Films will include HEARTS AND MINDS, PLATOON, THE DEERHUNTER, BREAKER MORANT, ASHES AND EMBERS, THE BIG CHILL, INTERVIEWS WITH MY LAI VETERANS, COMING HOME, THE WAR AT HOME, and films made by the South Vietnamese National Liberation Front. Writers will include Susan Brownmiller, Denise Levertov, Jonathan Kozol, David Rabe, and Wallace Terry. Much emphasis will be place on discussion, both large and small group, and discussion and lecture will focus not only on the works, but on their implications about personal attitude and social institutions. Final projects may be studies of individual artists, may be studies of large problems raised in the course, or may be relevant works of art or other forms of direct statement and communication about Vietnam and related issues. Group projects are encouraged. WL:1 Cost:3 (Alexander)
412/Film-Video 412. Major
Directors. (HU). May be repeated for a total of nine
Section 101. Hitchcock. Alfred Hitchcock's career spanned a half-century of film making, from the silents to cinemascope. He created a distinctive body of work and succeeded, in his own words, in bringing "murder back into the home – where it belongs." His thrillers, with their ingenious plots, virtuosic cinematic devices, and probing analyses of human relations, have been frequently imitated, but rarely equalled. We will view a selection of his most important films, from The Lodger to Psycho. There will be supplementary readings and an opportunity to view each film twice. Students will turn in viewing notes and take a midterm and a final exam. WL:1 Cost:2 (McDougal)
433. The Modern Novel. (Excl).
Section 101. 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, Lessing's The Golden Notebook, Fitzgerald's Tender is the Night, 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)
448. Contemporary Drama. (Excl).
The purpose of the course will be to examine contemporary American drama as a reflection of our times. Will the plays that we examine prove useful in understanding our contemporary personal and socio-political concerns? Students will be expected to learn how a play is constructed, to recognize premise or subtext and to discover intentional semiotics, signs or symbols intended by the authors. We will read plays that are currently being produced in American theatre. Several of the plays will be read aloud in class; others will be assigned reading. If possible, we will see one or more plays offered locally. Grades will be based on papers and class participation. Satisifes the American Literature requirement for English concentrators. WL:1 Cost:2 (OyamO)
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