WRITING COURSES :
After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. At a more advanced level, English 325 offers the opportunity for work in a variety of expository kinds of prose. In the Winter Term there will be one section of English 425.
As many as ten sections of English 223, the beginning course in creative writing, are available each term. More experienced writers may apply for admission to English 323 (several sections offered each term), English 423 (4 hours), or English 523 (4 hours). Admission to these advanced courses is by permission of the instructor, who will 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 (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.
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 in LSA. During Winter Term, 1983, sections 048-054 of Introductory Composition 125 are Pilot Program sections. See the Pilot Program section of this Guide, or the Pilot Program office (764-7521).
126. The Reading of Literature. English 125 or 167, or the equivalent. (3). (HU).
What is reading? How do we read, initially gather bits of information, trail them along, sorting, assigning priority, silencing certain areas as we go through a text: be it a poem, story, drama? What roles do memory, cultural expectations, and prior literary experience play when we read? We also talk and write about things we read. How then are these secondary activities related? Are all experiences of reading possible to translate into expressions others can share? We'll use a variety of stories, poems, etc. to test ourselves on these and other related issues. The class will do so by way of lectures, discussions, movie versions of certain stories, and individual reports. (Johnson)
167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).
This is a course in expository writing, with six plays of Shakespeare furnishing subjects and Sheridan Baker's The Practical Stylist providing the program. A weekly lecture guides the course, with two section meetings for discussion. We will spend about two weeks on each play – Romeo and Juliet, Henry IV, Twelfth Night, Hamlet, King Lear, and The Tempest - writing an essay a week, sometimes an impromptu in section to be revised for the following week. We will look at Shakespeare as a writer's writer as we explore his relevant ideas and consider problems of exposition, form, meaning, comedy, tragedy, the Elizabethan and Modern views of the universe, and the values of both literature and writing in understanding that universe and our place in it. We will have short quizzes and exercises in class, a midterm, and a final examination. (Baker)
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).
All sections of 223 teach the writing of fiction (including personal narrative), drama, poetry, techniques of characterization, dialogue, and plot. Different sections will emphasize the individual areas to varying degrees. Classwork involves the discussion of the process of writing and the fiction of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages is required.
Section 001 – Fiction.
Section 002. Closed to early registration.
Section 003 – Poetry.
Section 004 – Poetry, Fiction and Drama.
Section 005 – Poetry.
Section 006 – Fiction.
Section 007 – Fiction. This is a beginning course
in creative writing with an emphasis on fiction. Most class sessions
will be devoted to discussion of either published or student work, with some introductory exercises. Students will be expected to
progress both as writers and readers of fiction, and will be evaluated
on those terms. Critical feedback will include written critiques
from other students as well as those of the instructor, and individual
meetings with the instructor in addition to the in-class sessions.
Section 008 – Poetry, Fiction, and Drama.
Section 009 – Poetry, Fiction, and Drama.
Sections 010-013. Closed to early registration.
225. Expository and Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).
After taking or placing out of English 125 or 167, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. The course will explore ways of making the style and logic of your writing more effective as you explain or argue. The questions of connotative language and slanting, understatement, surprise, selection of evidence, tonal and organizational variation, and logical fallacies will be considered – in the context of writing to a specific audience for a specific purpose. Class will probably be run on a discussion-workshop basis, with students meeting often in small groups to share drafts of papers or to examine writing examples from periodicals and/or from a textbook of collected essays.
230. Introduction to Short Story and Novel. (3).
Section 002. We are all storytellers, but we are increasingly becoming bad listeners. Reading is a listening of sorts, and in our close readings of stories and novels we will try to sharpen our sense of hearing, frequently using the hearing aids provided by literary criticism. We will pursue the development of the American short story from its beginnings to the present day, and we will discuss the following novels by English, Black American, Swiss and Nigerian writers: Henry Fielding's Joseph Andrews, Emily Brontë's Wuthering Heights, Charles Dickens' Bleak House, Jean Toomer's Cane, Max Frisch's Homo Faber, Ralph Ellison's Invisible Man, and Wole Soyinka's autobiography Ake. There will be several brief interpretive essays and a final exam. (Bronnimann)
Section 005. During the course of the term, we shall read three related fictional forms – the short story, the novella, and the novel. Our initial task will be to discover what it means to read fiction "well," the next how to derive delight and psychological sense from what is read, and the third to uncover what aspects, features, and particulars of fiction are worth attention in order to give it the significance it deserves. Lecture as such will be kept to a minimum. Students will be required to keep journals on what they read and to read aloud, when appropriate, observations made in the journals. There will be two papers, a midterm, and a final – and also opportunity given each class member to "imitate" a portion of the assigned fiction. American authors will predominate, although some Russian and English names will also appear. No prerequisite - only a desire to explore varied types of fiction and the experience it provides. (Sands)
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (3). (HU).
Section 002. The purpose of this course is to investigate the numerous ways that each poem and all poems achieve distinctive effects. Structure, rhythm, syntax, diction, thematic content, as well as relation to a nourishing tradition or poems of the same kind – these are elements we shall study as we proceed through an anthology of English and American poems. Extended attention will be given to a single poet or volume of poems. We shall use Paul Fussell's Poetic Meter and Poetic Form as an additional guide. This is a discussion class, and depends upon rigorous daily preparation by each student for its vitality. Several short papers and one long paper will provide opportunities for practical criticism. There will be a midterm and final exam. (Goldstein)
Section 003. The course seeks to help students understand and enjoy poetry by defining and analyzing its techniques, by studying the contexts that help to shape its meaning and impact, and by reading a wide selection of English and American poems from various periods. We will stress how poetry leads readers to broader investigations of ideas, human nature, and the other arts. At the end of the course, we will look at one important poet, Alexander Pope, in greater depth by studying a number of his poems. Short exercises and papers; midterm and final exams. Text: J.P. Hunter, The Norton Introduction to Poetry (2nd ed.), 1981; Paul Fussell, Poetic Meter and Poetic Form, rev. ed., 1979 (optional); Alexander Pope, The Poetry of Pope: a Selection, 1954. (McHenry)
Section 004. The aim of this course is simple. It is designed to provide an introduction to the reading, understanding, and appreciation of poetry. Achieving that aim is not always so simple however, and much of our work in this term shall be devoted to cultivating a critical vocabulary which will enable us to respond intelligently to as many different forms of poetry as possible. Since our approach will be through close readings of particular poems, no chronological order will be followed. Instead, I will be grouping poems of various periods on the basis of formal and thematic affinities (for example, sonnets, love poetry, the elegy, etc.). Assignments include several short papers and occasional exercises. Primary text: Norton Anthology of Poetry. (Larson)
Section 005. In this course, a prerequisite to concentration in English, we shall read and discuss many poems of different times and kinds. Every poem is unique and yet like others of its kind. In studying a particular poem, we shall explore its language, listen to its music, submit as we can to its spell, attend to its human import, have as we can the experience it offers to a good reader, and try to tell each other something of what we find in that experience. Our aim will be to develop our competence as readers of poetry and thus to develop our confidence. With luck, some of us may discover the enjoyment of poetry and those who enjoy it already come to enjoy it more. Short papers, paraphrasing, exercises, hour exams perhaps, journals perhaps, final exam. (Hill)
Section 006. The course aspires to establish the general principles underlying the major approaches to poetry through the detailed study of select poems, both English and American. (Patrides)
Section 007. This course is designed to introduce students to the major forms and themes of English and American poetry. Although English 240 is a requirement for English concentrators, no special preparation is needed for admission to the course. In section 007, my aim will be to guide students toward an ability to read poems intelligently, to make defensible aesthetic judgments about them, and to speak and write about these perceptions and preferences with clarity and force. The term's reading will include a varied selection of poetry from the medieval period down to the present day, but the course will not be organized as a chronological survey; rather, the poems will be grouped in terms of form, theme, and technique. The final two or three weeks of the term will be given over to the study of a single poet. I will ask for frequent but fairly brief essays (some of them written in class). Grades will be based on these short essays, class discussion, a longer final paper, and the final examination. Open to Honors students only. (Jensen)
Section 008. Work in class will be devoted to discussion
of particular poems selected from the Norton Anthology of
Poetry. The aim of the discussion will be to increase understanding
and appreciation of poetry. The first objective will be to develop
some common questions on analytic approaches. Then we will spend
a few weeks discussing poems mainly for reading practice but also
for a general historical orientation. In the final weeks we will
read a number of poems by one poet (maybe Yeats, maybe Rich, maybe
a class choice). There will be short papers, in-class exercises, and a final examination. Book: Eastman, et al., The Norton
Anthology of Poetry. (Lenaghan)
Section 009. This course is an introduction to the nature of poetry, its form and content, with an emphasis on basic technique. Emphasis will also be placed on reading and responding to individual poems ranging through English and American poetry with some poems in other languages. Texts: Norton Anthology of Poetry (plus other supplemental texts to be announced). Prerequisite for concentrators in the regular program and in Honors. (Garrett)
Section 010. My course this term will be a reading of a wide selection of poems from the Anglo-American tradition in an effort to introduce the techniques of close critical reading of literary texts. We will consider such topics as the intention of the author, the role of the reader, the use by the writer of literary devices such as metaphor and symbolism. But always our goal will be to understand the ways in which meaning is generated, how literary or poetic language works. We will draw poems and ideas from Oscar Williams, ed. Masterpoems of the English Language and Alexander Allison, ed. The Norton Anthology of Poetry. There will be a final exam and students can expect to write 25 pages of critical writing in the form of several short explications of poetry. Class will proceed by lecture and discussion and, as often as is feasible, poems will be read aloud in class. (Goodhart)
245. Introduction to Drama. (3). (HU).
A survey of world drama from ancient Greece to modern Europe and America. Representative plays: Sophocles, Oedipus Rex; Jonson, Volpone; Molière, The Miser; Sheridan, The Rivals; Ibsen, Hedda Gabler; Wilde, The Importance of Being Earnest; Chekhov, The Cherry Orchard; Shaw, Saint Joan; Shaffer, Equus. Although the focus will not be on the production of plays, we will pay attention to the ways in which the aim of production influences the playwright, and participation in modest attempts to stage scenes from the plays will be one of the requirements of the course. Two papers; short exercises; a midterm; a final. (English)
270. Introduction to American Literature. (3).
Section 001. Students will introduce themselves to American literature by studying selected works by eight major writers: Moby Dick (Melville), Scarlet Letter (Hawthorne), Selected Poems (Dickinson), Huckleberry Finn (Twain), Selected Poems (Robert Frost), As I Lay Dying (Faulkner), In Our Time (Hemingway) and Geography III (Bishop). (Zebrun)
Section 002. This course is intended for students interested in learning and understanding some of the major authors who shaped our literature and made it national. We will read, study, and discuss selected works of seven representative writers, all in the 19th century – Hawthorne, Emerson, Thoreau, Whitman, Melville, Twain, and Frost. Although the instructor will give introductory comments, students are expected to get actively involved in class discussion. There will be three short critical papers (3-4 pages), occasional brief papers in class, and a midterm and final examination. (Robertson)
Section 003. An introduction to the Romantic tradition in American literature. We will read several works each by Emerson, Hawthorne, Whitman, James, and Stevens. Since this is also an introductory course in literary interpretation, most classes will be based on discussion growing out of close readings of the assigned works. A total of 25 pages of writing will be required in the form of short papers, homework assignments, and in-class writing. No examinations. (Ellison)
Section 004. Much American literature seems to record the experience of Americans with their environment, and it is this experience with environment that unites many of the texts in this course. Because the course is also an introduction to literature, emphasis is placed on practical questions about how to read fiction and poetry. Required course reading includes works by Twain, Thoreau, Faulkner, Frost, and some more recent writers. (Lenaghan)
280. Thematic Approaches to Literature. (3).
(HU). May be repeated for credit.
Moral Ideas in the Novel. We will look into some questions about the nature of moral action and the process of moral growth. We will try our answers to these questions on some novels. The idea is to bring fiction out into the practical world to some extent and also to bring some non-aesthetic ways of seeing from the practical world to the work of art. More emphasis on character than plot. We will read selections from Aristotle's Nicomachean Ethics, and perhaps selections from recent writers on moral and cognitive growth. Novels include Lord Jim, by Conrad, Robert Penn Warren's All the King's Men, The Invisible Man, by Ralph Ellison, Sinclair Lewis' Babbitt, Morte D'Urban, by J.F. Powers, Portnoy's Complaint by Philip Roth, Surfacing, by Margaret Atwood and The Fall, by Albert Camus. Conceivable additions: A Portrait of the Artist as a Young Man; Ring Lardner short stories; Robert Stone, A Flag for Sunrise. There will be frequent short stories in and outside of class, as well as a final examination. Since this will be run as a discussion class insofar as size permits, it will be important to keep up with the reading (approximate rate, a book a week). (W. Clark)
285. Introduction to Twentieth-Century Literature.
Section 001. This is a survey of twentieth century literature centering on such major writers as Joyce, Waugh, Solzhenitsyn, Mann, Camus, Yeats, Eliot. The course tries to identify some important themes: man's relation to nature, to society, to God; sources of good and evil; the unique character of modern life. The most important prerequisite is a love of reading. The writing includes some short papers, at least two longer papers, and a final examination. (Steinhoff)
Primarily for Juniors and Seniors
301. The Power of Words. (4). (HU).
If language is a game, this course will explore such questions as how the game is put together, who writes the rules, who the players are, and the ways in which the game is "rigged." We all know that our language provides us with a ready-made system through which we define our world, ourselves and our place in the world. Does it work equally well for all of us – male/female, Black/white, young/old? What are we to make of such facts as these: "Husband" and "hussy" (the shortened form of "housewife") both were once completely neutral terms as were "knave," a young boy/servant; "clown," a rural person; "villain," a lowly-born person. "Shrew," "harlot," and "brothel" first referred to malicious, base, and worthless men, and "frump," "witch," and "bawd" could originally refer both to men and women. Some synonyms for white include "pure, spotless, unblemished;" on the other hand, synonyms for black are "dark, sinister, sullied." Is the kind of power words exert over us "awesome, I mean, for sure, totally tubular" or "grody to the max!" Class format will be lecture/discussion. There will be frequent short written assignments (1-2 pages), three or four longer papers, essay midterm and final. This class fulfills the LSA junior/senior writing requirement. (Toon)
308(408). History of the English Language. (3). (HU).
The course will center study on change in the English language over a period of a thousand years. Instruction will involve lecture and discussion; individual analysis of texts in Old English, Middle English, Early Modern English; and class exercises. There will be attention to political and social forces that cause and influence change in vocabulary, sounds, and syntax, with particular notice of pressures toward variation and toward standardization. There will be a midterm and a final examination. (Downer)
309(409). American English. (3). (HU).
We shall begin the course by discussing what there is in American English worth serious study. This will entail, initially, how distinct our spoken and written idiom is from British English past and present, what is and what is not "colonial" about how we speak and write, then turn to the lexicon and its peculiar flexibility and inventiveness, to dialects and regionalisms, to the idiom of social and ethnic groups, and to popular and academic conceptions and misconceptions about our language. We shall learn, where necessary, how to describe our pronunciations by the use of symbols, how lexemes are caught and recorded, and where the source materials of the topics to be treated may be found. There will be several exercises (as in the use of phonetic symbols, for example, and in the use of lexical sources and lexical evidence). There will be a journal assignment, a midterm, and a final. We probably shall have two speakers, one on Black English and another on Down East dialect. There will be three texts, all paperbacks, and two or more outline maps required. (Sands)
317. Literature and Culture. (3). (HU).
May be repeated for credit.
Section 001 – The Literature of Ireland. This course attempts an introductory study of the literature of Ireland from earliest times to the present. This means that we select from among ancient saga, medieval and modern poetry, modern prose fiction (novel and short story), and modern drama. We shall sample both Gaelic literature (in translation) and Anglo-Irish literature. The course requires no prerequisites and does not presume prior acquaintance with Irish history, though students with some knowledge of that history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. Three papers, two short and one longer one, will be written. Final examination, brief quizzes weekly, no hour exams. (McNamara)
Section 002 – American Gothic – Fiction from Poe to Faulkner. A consideration of those major American writers whose works reveal, whether openly or surreptitiously, Gothic influences. The term shall begin with a brief investigation of the origins of the Gothic Revival as it flourished in England during the later half of the 18th century. Next, in turning to American fiction of the 19th and 20th centuries, we shall inquire into the possible reasons why so many of our writers continued to exploit Gothic conventions at a time when its vogue had virtually died out in Europe and, equally important, how these writers reshaped, strained, and/or mocked those conventions in the course of their own literary performances. Because Gothic fiction in general repeatedly returns to the drama of ancestral guilt or what Hawthorne would call "the sins of the fathers," the overriding focus of this course shall be upon problems of tradition, inheritance, and authority – issues which the American Gothic conveys with a special urgency and extravagance. Readings include Walpole, The Castle of Otranto; Brockden Brown, Wieland; Poe, Tales; Hawthorne, The House of the Seven Gables; Melville, short works; Twain, Puddn'head Wilson; James, The Turn of the Screw and other stories; Faulkner, The Sound and the Fury. Written assignments: three short critical essays and a final exam. (Larson)
Section 003 – Early English Mysticism. During Winter Term, 1983, this section of English 317 is jointly offered with Religion 325. See Religion for description. (Stuckey)
318. Literary Types. (3). (HU). May be
repeated for credit.
Section 001 – Problems of Interpretation in Contemporary Fiction. The course will explore, by the study of works of fiction from both Modernism and Post-Modernism, the new problems of interpretation that are presented, at least in a significant number of works of recent fiction, by shifts in method and emphasis away from the ways in which meaning, and the direction of reader attention to meaning, were handled by the Modernists. Works read will include - depending to some extent on the availability of texts in bookstores - novels and/or short stories by Conrad, D.H. Lawrence, Saul Bellow, Paul Bowles, Flannery O'Connor, Margaret Drabble, and Margaret Atwood. Method: discussion in class of the texts assigned. No prerequisite, but some experience in the reading and study of fiction is assumed, and of course an initial interest in these things. Written work: one or two one-hour bluebooks, two outside papers (medium length), and a final exam. (Barrows)
Section 002 – Tragedy. "Of Mighty Opposites." Hamlet's warning about the danger of being caught between unleashed forces "of mighty opposites" does not prevent him from being destroyed by them, and his problems may be compared with those of many figures who are called "tragic." In this course, we will study their stories, not only the dramatic context of their "tragedies," but the larger critical "histories" that their experiences have occasioned. Our questions will be fundamental: the nature of tragic character and plot; the role of imitation and narrative; the relationship of a play to its historical context; changing theatrical practices. Throughout we will keep an eye on the broader issues raised by the reading of tragedy, namely, the place of conventions of interpretation in the study of Western literature. Attention will be given to close critical readings of several tragedies, which may include: Oedipus Rex, Hippolytus, Duchess of Malfi, Othello, Hamlet, Phaedra, Ghosts, The Hairy Ape, No Exit, Waiting for Godot, Death of a Salesman. We will also engage seminal treatises by such theorists as Aristotle, Schiller, Hegel, Freud, Bradley, Miller, and Girard. Classes will proceed by lectures (some with slides) and discussions. Periodic tests and a couple of brief papers. Film versions of some of the plays may be shown in conjunction with the class. (Gellrich)
323, 324. Creative Writing. Junior standing and written permission of instructor. (3 each). (HU). May be elected for credit more than once with permission of the undergraduate chairman.
English 323 is offered Winter Term, 1983.
For early Registration, submit copies of creative writing you have written (plus name, phone, campus address) to the Undergraduate English Secretary in 7607 Haven Hall by Wednesday, November 24. Overrides for those students admitted will be available early November 29.
For Regular Registration, students must submit sample to instructor before first class meeting. Include name, phone, and address. Instructor will admit up to class limit and notify students admitted.
Section 001 – Poetry. This is a course designed for serious students interested in writing poetry. Students will be selected on the basis of writing samples submitted prior to the first class meeting. The focus will be original writing presented in the workshop. Students will, however, be asked to complete three exercises: two in traditional form and one in free verse. In addition to the discussion of student writing, we will look at the following works by important contemporary poets: Life Studies (Robert Lowell), Geography III (Elizabeth Bishop), American Journal (Robert Hayden), Field Work (Seamus Heaney), House on Marshland (Louise Gluck) and Praise (Robert Haas). Instructor's permission required. (Zebrun)
Section 002 – Fiction. This is an advanced course in creative writing, with an emphasis on fiction. Class sessions will be devoted to the study of both published and student work. Students as well as the instructor will provide written critiques of student work, and there will be individual meetings with the instructor in addition. Evaluation will take into account improvement, quality of work, and amount and quality of participation. Permission of instructor required. (Shepard)
Section 003 – Fiction. This will be a workshop in the writing of fiction, defined as any prose narrative, any writing chronological rather than logical, anything not an essay. Subject, theme, genre, style, tone, etc. are entirely up to the members of the class. The instructor will react to what you do but not play Muse. There is a quantitative requirement of about 1,000 words a week. No text, no exams. Permission of instructor required for admission. (Creeth)
325. Intermediate Exposition. (4). (HU).
This course is designed for juniors and seniors who want continued experience in varieties of prose-writing. Emphases and themes vary from section to section. Please note: this course no longer fulfills the LSA junior/senior writing requirement beginning Winter Term, l983.
355. Core I (Great English Books). (4).
Section 001. An intensive study of major English Medieval and Renaissance works, including parts of Chaucer's Canterbury Tales, the romance Sir Gawain and the Green Knight, Shakespeare's sonnets, selections from the poems of John Donne, the play Dr. Faustus by Marlowe and Volpone by Jonson. The course ends with the reading of Milton's Paradise Lost. Class discussion will be supplemented with lectures, and two in-class essays will be required with an optional outside paper and possible short quizzes. There will be a final examination, either in-class or take-home, to be decided. The course is part of a sequence required for English majors. Texts: Chaucer, Canterbury Tales, Cawley, ed. (Dutton, Everman); Sir Gawain, Borroff, trans. (Norton); Shakespeare sonnets complete in any edition or Barber, ed. (Laurel Shakespeare, Dell); Donne, The Complete Plays of Marlowe, Ribner, ed. (Odyssey); Volpone, Barish, ed. (Crofts Classics); Paradise Lost, Hughes, ed. (Odyssey). (Garbaty)
Section 002. A selection of works from the late Middle Ages through the Renaissance, e.g., Chaucer's Canterbury Tales, The Second Shepherds' Play, Everyman, Sir Gawain and the Green Knight, Spenser's Faerie Queene, Marlowe's Dr. Faustus, poems by John Donne and George Herbert, Jonson's Volpone, Webster's Duchess of Malfi, Milton's Paradise Lost. Mostly discussion, occasional lecturing. Three papers, a variety of short written exercises, modest attempts at staging one or two of the plays. A midterm exam; a final exam. (English)
Section 003. The important writers of, and the important works in, the canon of English literature from its beginnings to the mid-17th century. (The identity of the canonical writers and works is fairly predictable; we will, however, omit Shakespeare's plays.) I will stress close and careful reading, insist upon active participation in class discussion, require frequent papers, and generally see to it that we confront the texts and the issues in a workmanlike manner. There will be a final exam. Text: The Norton Anthology of English Literature, vol. l, 4th edition. (Ingram)
Section 004. This first of a three-course sequence (required of majors but open to non-majors) offering intensive study of masterworks in the canon concentrates on the literature of the Middle Ages and the Renaissance. We will read Chaucer's Canterbury Tales (selections), Sir Gawain and the Green Knight, some medieval plays, Marlowe's Doctor Faustus, a selection of Renaissance poetry (Shakespeare, Donne, Marvell, et al), Jonson's Volpone, and Milton's Paradise Lost. The class will be conducted as part informal lecture and part discussion, the quantity of the latter dependent upon class size and the vitality of the bodies in it. Three brief papers, one in-class paper at midterm, and a final examination. (Bauland)
Section 005. This section will highlight some of the great poetic works of English literature through the Renaissance: the Old English Beowulf (in translation), Chaucer's Canterbury Tales (selections), Sir Gawain and the Green Knight, Spenser's Faerie Queene (selections), and Milton's Paradise Lost. We will also read some sonnets and other short lyrics by Shakespeare, Donne, Milton, and "Anonymous." And if we have time, we will read and possibly "act" a medieval play and an Elizabethan comedy and tragedy. The focus will be on the enjoyment and appreciation of poetry, but of course we will spend much class time interpreting these often difficult works. Their themes are not so different from ours (love, death, morality, truth, folly, man and God); but their cultural presuppositions are quite different, and will necessitate some lecturing. Requirements: three short papers, memorization of one sonnet and a passage from Chaucer ("You'll be glad you did"), and a final exam. (Smith)
Section 006. My course this term will be an introduction to the major works of the major writers of the English literary tradition. Course readings will include Beowulf, selections from Chaucer, Shakespeare, Spenser, Donne, and Milton. Our primary text for the course will be M.H. Abrams, ed. The Norton Anthology of English Literature, Volume I. Class will proceed by lecture and discussion. There will be a midterm, and 25 pages of critical writing in the form of a series of short essays on class readings. (Goodhart)
356. Core II (Great English and American Books). (4).
Section 001. This course will focus on some of the most important English and American poets, satirists, and novelists who wrote between the late seventeenth century and early nineteenth. We will try to define the individual character of each writer through close analysis while also discussing the important trends in intellectual and artistic history that they reflect. Special attention will go to the humanistic and neo-classical values behind the satire in Dryden, Swift, Johnson, and Austen, to the nature of Romanticism as seen in Blake and Keats, and to the rise of the American novel. Three short papers, midterm and final exams. (McHenry)
Section 002. This section of Core II will feature the following English and American works: from 18-century England, Congreve's The Way of the World and Samuel Johnson's Rasselas and essays; from the English Romantic period, the poetry of Wordsworth and Shelley, and Mary Shelley's Frankenstein; and from the American renaissance, Emerson's essays and the poetry of Whitman and Dickenson. Through close textual analysis, we will investigate style, structure, and philosophy. Periodically, we will pause to reflect on how each generation of writers argues with, revises, and constitutes itself in terms of the past. Discussion. Several short homework and in-class writing assignments, two or three five-page papers, with revisions. (Ellison)
Section 003. The course will deal with major English and American writers of the eighteenth and early nineteenth centuries, writers of fiction, drama, poetry, and non-fiction prose. The aim will be to show the course of change from neo-classicism to romanticism, and to develop at the same time concepts of comedy and of such genres as prose fiction and lyric poetry. The works of the following authors will be read (in individual texts, not anthologies): Congreve, Swift, Pope, Johnson, Blake, Wordsworth, Byron, Jane Austen, Emily Brontë, Emerson, and Hawthorne. Class sessions will be predominantly discussions of the readings, not lectures. (Super)
Section 004. This course examines, as best it can, the chief masterpieces of three general areas: Neoclassical English literature (1700-1789); Romantic and early Victorian English literature (1789-1860); and American literature to 1860. The discovery of similarities and differences between the works of these three areas comprises one objective of the course, in addition to the close readings themselves. Likely authors are Pope, Swift, Congreve, and Johnson for the first area; Blake, Wordsworth, Austen, Keats, and Charlotte Brontë for the second area; Thoreau, Melville and Whitman for the third area. The format is lecture-discussion. Requirements: two short papers and a long paper; a midterm and a final exam. (Goldstein)
Section 005. Representative major works and authors from the Restoration to the early 19th century, with illustrations from other arts (music, architecture, gardening). We will follow the course of neo-classical poetics and criticism from Dryden through Pope to Johnson, and examine the romantic reaction in Wordsworth and Keats. Congreve's Way of the World will represent drama. As this is the period in which the novel gains eminence as a form in English, we will give special attention to fiction: Gulliver's Travels, Rasselas, Joseph Andrews, and Pride and Prejudice. Biography and autobiography rise in this age, too: we shall read Ben Franklin's Autobiography and extracts from Boswell's Life of Johnson. This is not a lecture or correspondence course: I expect you to come to class ready to talk about the works. Two papers, a midterm and a final exam. (Cloyd)
Section 006. A selection of major writers from the late seventeenth to the mid-nineteenth centuries. Readings will include, in this order: Dryden, All for Love; Wycherley, The Country Wife; Swift, Gulliver's Travels; Fielding, Joseph Andrews; Austen, Pride and Prejudice; selected poems by Pope, Wordsworth, and Keats; Thoreau, Walden. Each student will also read an additional work of his or her choice, to be chosen from a list of supplemental texts. There will be two exams, a midterm, and a final. A number of brief, informal papers will be required, as also a term paper. This course will emphasize the close reading of literary texts, with a view to their special situation in larger ideological contexts. Our best classes will be lively discussions punctuated by brief lecturely interludes. (Faller)
357. Core III (Great English and American Books). (4).
Section 001. In this course we will read a wide range of late 19th century and 20th century American and British poets and novelists in order to illustrate something of the richness and variety of literature during this period. Poets will include Browning, Eliot, Frost, and Levertov. Novels will include Forster, A Passage to India; Woolf, To the Lighthouse; Hemingway, The Sun Also Rises; Bellow, Henderson the Rain King; Burgess, A Clockwork Orange; and Morrison, Song of Solomon. There will be a number of short papers and a final examination; the usual mode of instruction will be discussion. (Howes)
Section 002. This course will generally echo some of the concerns of the issues and genres that precede the modern period it covers. The major concern is naturally, twentieth century expression in the Anglo-American tradition. "Great" for our purposes will lead us to both canonical texts and authors (Eliot, Fitzgerald, Joyce, Hardy) as well as uncanonical but significant views from such writers as Silko, Brooks, and Hughes. The criteria for various kinds of critical evaluations will also have to be addressed as we try to decide why and how we (and other critics) look at our texts. Class will alternate as lecture, individual or group reports, and general discussions. There will be a five page paper and a final major project of about 10-15 pages. (Johnson)
Section 003. This course will survey British and American poetry and fiction from the mid-nineteenth century to nearly the present. We will give close attention to particular texts, to how they respond to each other in the dialogue of literary tradition, and to their roles as products and makers of a larger cultural tradition. Poets and novels to be studied: Tennyson, Dickens' Great Expectations, Robert Browning, George Eliot's Middlemarch, probably Dickinson, Hardy's Tess of the d'Urbervilles, Yeats, Conrad's Heart of Darkness, Lawrence's Women in Love, T.S. Eliot, Woolf's Mrs. Dalloway (or possibly To the Lighthouse), Faulkner's As I Lay Dying, Fowles' The French Lieutenant's Woman, and Pynchon's The Crying of Lot 49. Requirements: attendance, discussion, three short papers, and a final exam. (Parker)
Section 005. This is the third of the Core courses required for concentrators, but the class is open to non-concentrators as well. The class will examine some of the major literary works written in England and America from the Victorian period to the present. We shall be concerned with the unique achievements of these works, but we shall also seek to understand them as milestones in the development of cultural and literary history, seeking also to compare them in the contexts of their individual national backgrounds. We shall also examine these works as significant elements in a changing intellectual history, attempting to do so by relating certain contemporary movements in cultural theory. The class will read some of the major poetry of Browning, Tennyson, Yeats, Pound, Eliot, and Stevens; and the following novels: Dickens' Bleak House, Eliot's Middlemarch, Twain's Huckleberry Finn, James' Portrait of a Lady, Joyce's Ulysses, and Faulkner's Sound and the Fury. The method of instruction will be discussion. Students will write two short papers and two examinations. (Konigsberg)
368. Shakespeare's Principal Plays, II. (3).
Section 001. In this lecture course I will concentrate on my favorite Shakespearean plays. By way of introduction we will study Kyd's The Spanish Tragedy and pursue the development of the revenge theme in Titus Andronicus and Hamlet. Controversial interpretations will initiate our discussions of A Midsummer Night's Dream, Troilus and Cressida, Richard II, Romeo and Juliet, Macbeth, Othello, and The Tempest. In my lectures I will provide information on the historical and social background of Elizabethan drama, and I will try to show that Shakespeare integrated a complex system of clues into his texts that should be taken into account when deciding how specific passages are to be acted on the stage. My approach will emphasize that the text in your edition is not a fragile object that must be revered as a museum piece; we will constantly bear in mind that the text is a score that is meant to be performed. There will be two 6-8 page essays and a final exam. (Bronnimann)
Section 002. In this course we will read seven or eight of Shakespeare's best and most representative plays. "Best" means what it says – Hamlet, not Titus Andronicus, etc.; and "representative" means that we will be covering all the kinds in which Shakespeare worked: comedy, tragedy, history, romance. Because the class is expected to be large, I will lecture but rather informally, and I will try for class participation and won't hesitate to call on students by name. The plays as plays will be up front, not biography or history or the history of ideas. No special background is required. The more you know the better, of course, though not necessarily about Shakespeare, and you should like to read literature and be willing to work. Student evaluation will turn on a midterm, a final, at least two papers, and a number of weekly spot quotation quizzes. Also I shall try to evaluate your work in terms of what I see of it and you in class. I will be assisted by two more than usually experienced course graders with whom I have worked before, and much of the determination of your grade will rest with them. I have ordered for the course a paperback volume of mine called An Essential Shakespeare. It includes nine plays and the Sonnets. Here is a suggested syllabus (which isn't written in stone): Romeo and Juliet, A Midsummer Night's Dream, 1 Henry IV, Twelfth Night, Hamlet, Measure for Measure, King Lear, The Tempest. (Fraser)
393. Honors Survey: Milton to Blake. (3). (Excl).
We will look at the Age of Reason through its drama, poetry, and prose, reading its representative writers and studying its giants in this remarkable transition and breathing space between medieval certainty and modern uncertainty. The instructor will fill in the background of ideas, history, literary trends, and significant works other than those read. Brief quizzes on the reading will focus ideas for discussion and replace the extended journal formally kept. Two papers, a midterm, a term paper, and a final examination will constitute your achievement. We will read Congreve, Dryden, Swift, Pope, Fielding, Johnson, Sterne, some of the lesser poets, and Blake. (Baker)
394. Honors Survey: History of Literary Theory. Enrollment in English Honors curriculum. (3). (Excl).
This survey introduces students to the major figures and traditions of literary theory from Plato to the early twentieth century, with special emphasis on English writers of the eighteenth and nineteenth centuries and their classical sources. In addition to historically important philosophical texts about literature, readings will include theoretical and literary works by poets, novelists, and dramatists. By the end of the course, students should be familiar with the origins and historical evolution of ideas about literature that have determined the way we read today. Classes will consist of lectures and discussions. Five short papers and a journal will be required. There will be no formal examinations. (M. Clark)
402/GNE 482/Rel. 482. The English Bible: Its Literary Aspects and Influences, II. (3). (HU).
"We have dreamed a dream, and there is nobody to interpret it to us" (Genesis 40.8). Despite the implication of this lament in many books of the Bible, interpreters of Israel's dreams have hardly been silent over the centuries. In this course we will survey what they have left us in the Old and New Testaments. Our aim will be to understand more fully the emergence and development of the people and literature of the Bible. We will proceed historically by selecting Scriptural texts for study insofar as they may correspond to a supposed chronology of events in Hebrew history. Attention will be given to some of the great moments in that history, such as the escape from slavery, the rise of kingship, the role of prophets, and the coming of the Messiah; we will examine as well the crucial theological issues reflected by these events – such as the idea of God and the place of man in nature. Throughout we will be concerned with the literary aspects and influences of the Scriptural documents, and thus our inquiry will focus often on differences between "fiction" and "mythology," "narrative" and "history," "interpretation" and "drama." These interests will be reflected as much as possible in the method of the course, which is to inquire, rather than to advance a thesis, and to engage this compelling book with the scrutiny that has been made available to literary criticism through modern scholarship in anthropology, philosophy, and theology. The course will be conducted through lectures (often with slides) and discussions. Requirements: periodic tests and brief essays. (Gellrich)
411. Art of the Film. (3). (HU). May be
repeated for credit.
Section 001 – From Fiction to Film. Many films are based on works of literature, and this course investigates the problems of adaptation in order to discover how narrative films utilize such literary resources as figurative language, point of view, space, time, etc. Generally, we will read a play, short story or novel each week and view a film based on that work. We will see a wide range of films (old, new, foreign, American) including (probably) The Trial, Don't Look Now, Blow-Up, Great Expectations, The Innocents, Macbeth, The Throne of Blood, The Collector, and The Loneliness of the Long Distance Runner. Students will write short (one page) papers on most of the films, and two long (ten page) papers. There will be no exams, no late papers, and no incompletes. Lecture and discussion. (McDougal)
Section 002 – 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 relationship between the psychological impact of these films and their cinematic techniques, but we shall also examine both the historical background to certain figures and plots as well as the immediate social impact on their portrayal. 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. On Tuesday afternoons we shall discuss the psychological, cultural, and social themes of the course, or analyze one of the literary texts; we shall also introduce material relevant to the week's film. The film will be shown on the same evening and discussed in detail on Thursday afternoon, when we shall screen certain portions of it for close analysis. Among the films to be seen are The Haunting, Psycho, King Kong, Bride of Frankenstein, The Horror of Dracula, Carrie, The Exorcist, and Alien. Students will be required to read a number of literary texts and write several short papers and examinations. (Konigsberg)
413. Studies in Film Genre. (3). (HU).
May be repeated for credit.
Film Noir and the Western. A study of two peculiarly American forms which will examine how they are interrelated and what they mean in terms of the way Americans see themselves and the world they inhabit. Tentative film list includes: Stagecoach, My Darling Clementine, Shane, One Eyed Jacks, The Man Who Shot Liberty Valance, The Wild Bunch, Double Indemnity, Out of the Past, The Lady from Shanghai, Kiss of Death, Laura, Mildred Pierce, and Chinatown. (Shepard)
416/Hist. 487. Women in Victorian England. (4). (HU).
This is an interdisciplinary course using history and literature to explore the position of women in Victorian England. You may receive either History or English credit. The Victorian age (1837-1901) in England saw some of the most culturally repressive attitudes toward women, but also some of the strongest efforts to emancipate women. These extremes coincided with the first industrial revolution, and a time of great disparities in wealth and poverty. We will examine the stereotypes of the ideal woman, and the many responses; the struggle to improve women's education and to open the professions; the living conditions and lives of working women; and such general issues as sexuality, crime and prostitution. Readings will include a course pack, three novels, an autobiography, critical essays and poetry. Requirements include one paper, one annotated bibliography and one final exam. (Vicinus)
417. Senior Seminar. Only open to senior
concentrators in English. (3). (Excl).
Section 001. This is a study in some depth of the utopian idea as it appears in such works as Plato's Republic, More's Utopia, Butler's Erewhon, Huxley's Brave New World, Wells,' When the Sleeper Wakes, and Orwell's Nineteen Eighty-four. The work of the seminar involves reports, discussion, and short papers. It culminates in a longish (20-30 pages) critical paper. (Steinhoff)
Section 002. This course will be a study of providence and self-determination, destiny and free will, in Shakespeare, culminating in a paper on Hamlet considered in these terms. We will begin with a close reading of Hamlet, an explication de texte, with no attempt at interpretation, which would beg the question. We shall then consider several other plays by Shakespeare, including A Midsummer Night's Dream, Romeo and Juliet, and probably Julius Caesar and either Othello or Macbeth. We may read two or three revenge tragedies by Shakespeare's contemporaries Thomas Kyd and Cyril Tourneur, or there may only be reports on these. Each member of the seminar will deliver at least one report on a relevant topic, later to be submitted as an essay. (Creeth)
Section 003 – Facts and Fictions. An exploration of the borderline between works that purport to be factual and others, deliberately fictional, that incorporate factual materials. We will consider why such works are prevalent in the contemporary literary scene; learn how to interpret them; and try to discover what they mean both in terms of the nature of narrative and in terms of historical change in that nature. Primary works will include examples from journalism, such as Mailer's Executioner's Song; works incorporating historical fact with fiction, such as Doctorow's Ragtime; and works that attempt to create a legendary past that might take the place of history, such as Hong Kingston's China Men. We will read antecedents to these contemporary works and make brief sidetrips into poetry and drama to locate similar phenomena. Secondary works will offer readings in critical, narrative, and social theory. There will be frequent short writing assignments leading to three longer papers. (Robinson)
Section 005. In this course we will read plays from
a variety of cultures and times, as well as key examples of dramatic theory and criticism, in an attempt to arrive at a greater understanding
of the nature and complexity of drama. Some of the plays will
enable us to compare the treatments of similar themes by different
playwrights. In addition we will view and discuss two or three
films. The plays read will include a number selected from this
list (though not all of these): Aeschylus, Oresteia;
Sophocles, Theban Plays; Aristophanes, Lysistrata;
Shakespeare, King Lear, Hamlet, The Tempest;
Ibsen, Ghosts; O'Neill, Mourning Becomes Electra;
Albee, Who's Afraid of Virginia Woolf; Cocteau, The
Infernal Machine; Anouilh, Antigone, Beckett, Waiting
for Godot, Endgame; Stoppard, Rosencrantz and Guildenstern are Dead; a selection of Japanese plays; a selection
of film scripts. There will be a number of short papers and reports
of different types and a final examination; the usual mode of
instruction will be discussion. (Howes)
Section 006 – The Elizabethan Setting. We will try to establish a context for the Elizabethan writers whose works we already know – Shakespeare, Spenser, Marlowe, Jonson, etc. – by examining the social and literary milieu in which they worked. We will begin by studying in some detail the exemplary career of Thomas Nashe – poet, pamphleteer, fiction writer, playwright - searching for clues about the nature of the problem, and will pursue the leads suggested by this inquiry. We will look at popular literature, cultural attitudes, social and political history, and common notions about man and the universe. As befits a seminar, individual projects and individual research will be central, and a long paper will focus the term's work. (Ingram)
Section 007. This will be a course in practical criticism. Occasions for thought, discussion, and writing will arise from the placing of important statements in the literature of literary criticism side by side with literary texts most of which, it is hoped, will be not unfamiliar to students who, as English majors, will have studied them in other courses. We will be trying to discover, through practice, the grounds and methods of the main ways of literary explanation, interpretation, and evaluation. Most of the literary texts will be drawn from lyric poetry but not to the exclusion of drama and novel. The writing will be of brief papers, weekly. Apart from the final examination, no other exams. (McNamara)
Section 008. In this seminar we will study William Blake's Illuminated Books together with some of his other writing and art work. The principal Illuminated Books will be facsimile editions of Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Book of Urizen, and, time permitting, Milton. I will provide copies of Urizen and Milton for course use along with other materials in course pack format. Written work for the seminar will include short reports, scripts, and a longer paper. (Wright)
Section 009 – English as a World Language. In this seminar for senior English concentrators, we will examine the connection between language and literature in a relatively unconventional way: the use by poets, prose writers, and dramatists of local varieties of English. Most of our examples will be drawn from parts of the English-using world not usually included in our curriculum: Scotland, Ireland, Canada, South Africa, Australia, Kenya, the Caribbean, and India. Through specific readings and investigation, we will try to achieve a better understanding of artistic language that, consciously or unconsciously, reflects national and community values in distinctive varieties of English. Prior study of the English language, for example in English 305, will help but there is no prerequisite. Text: English as a World Language (U-M Press). (Bailey)
423, 424. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3 each). (HU). May be repeated for credit with permission of the undergraduate chairman.
English 423 is offered Winter Term, 1983.
This is an independent study course in fiction writing. A minimum of four short stories or 40-50 manuscript pages are required. Students interested in the course should submit a writing sample of one complete short story to 1616 Haven Hall. (Jones)
425. Advanced Exposition. Open only to seniors and graduate students; written permission of instructor is required. (3). (HU).
English 425 is designed for those who want to improve their own writing and for those who plan to work professionally as writers, editors, or teachers. In this class I plan to analyse the dimensions of composing choices in academic and non-academic contexts. We will view composing as a series of choices: what writers choose should be appropriate to the writer's purpose, the writing context, and the audience to which the writing is directed. We will try to understand how readers construct meaning using clues in the writer's text. Such an understanding should help you make more informed composing choices as you write with your reader in mind. We will practice different kinds of writing: writing out of your own experience, argumentative writing, writing directed to a lay audience, and analytical writing, which will include analysing a text to define the writer's fiction of audience, analysing a text to define the degree of interaction between writer and reader, a case-study of a person who writes frequently on the job, and a critique of a chapter of a textbook that I am currently writing. Course requirements: expect regular, short papers, six of which will be revised for a grade. Text: Composing Choices for Writers, course pack version. Prerequisites: You should be relatively comfortable with academic writing, ready to write often, and ready to share your work with other class members. (Dougherty)
427. Playwriting. Permission of instructor.
Screenplays. Each participant in this writing workshop will collaborate on a screenplay adapted from James M. Cain's novel Mildred Pierce. The class will view the Joan Crawford film and study Ranald MacDougall's script, then in a group story-conference, develop an improved treatment and motion-picture screenplay. The second part of the course will concentrate on individual projects with criticism and comment coming from the instructor and other class members. Script evaluations and in-class lecture and discussion sections will emphasize screen narrative, dramatic focus, story content, strength of characterization, camera visualization, pacing, and mood. Those who have already successfully completed a course in film production, history, or theory will probably do better than those who have not; and it is strongly recommended that students wishing to enroll read How to Read a Film by James Monaco prior to the first day of class. (Hansen)
429. The Writing of Poetry. Written permission of instructor is required. (3). (HU).
The course will focus on the student's writing. Students will do exercises on such aspects as form, diction, and voice, but the main work will be a sequence of six or eight original poems. In class we will (1) discuss articles and books on writing poetry - e.g., Friebert Young's Field Guide... and Hugo's Triggering Town, and (2) read and discuss each other's poems. For early registration, submit four or five poems (plus name, phone, campus address) to the Undergraduate English Secretary in 7607 Haven Hall by Wednesday, November 24. Overrides for those students admitted will be available in 7607 Haven Hall early November 29. For regular registration, students must submit sample to instructor before first class meeting. Include name, phone and address. Instructor will admit up to class limit and notify students admitted. We meet Tuesday and Thursday, 12-1: 30, Room 1603 Haven Hall. Individual conferences too. (Dunning)
431. The English Novel from Dickens to Conrad. (3). (HU).
This course is a treatment of the English Victorian Novel, paying attention to both the individual novels as works of art and the novels as conveying varying assumptions and concerns that characterize the historical period. The list of novels read will include one novel by each of the following writers: Dickens, Emily Brontë, George Eliot, Trollope, Meredith, and Hardy. In addition, the Victorian age will be slightly extended in time to include others, Conrad, perhaps Bennett and Virginia Woolf, as well as a contemporary treatment of the Victorian ethos, Fowles' The French Lieutenant's Woman. Class method is discussion and the interruptible lecture. Probably two papers, a midterm, and a final examination. (Gindin)
432. The American Novel. (3). (HU).
Section 001. This course is intended to reveal the growth of the American novel through a study of major works of some of its foremost artists: Hawthorne, Melville, Twain, Dreiser, Anderson, Hemingway, Fitzgerald, Faulkner, and Ellison. We will read The Scarlet Letter; Moby Dick; Huckleberry Finn; Sister Carrie; Winesburg, Ohio; The Sun Also Rises; The Great Gatsby; Light in August; and Invisible Man. One of the aims of the course will be to trace recurrent themes in the American experience as they are treated in fiction. The instructor will present background material on the author and the work to provide an initial basis for class discussion and analysis of the works and issues raised by them. There will be three one-hour tests and a term paper. (Blotner)
Section 002. Participants in this course will read twelve novels (mid-1800's to 1980's) with particular focus on the American "type" and personality: who is the American? what are the peculiarly American characteristics? has the American either developed or changed in the past two hundred years? Novelists will include Hawthorne, Cather, Fitzgerald, Updike and significant others. Correlative material from sociological, philosophical and psychological writings will be introduced by the lecturer and some group work will be done in class regarding presentation of ideas/themes. In-depth reading of the texts and discussions will be vital to the success of the course. Several in-class writings will be assigned, and one major paper, the topic of which will be determined through conferences. Final exam as usual. (DePree)
433. The Modern Novel. (3). (HU).
In this course we will read a selection of great European novels written during the period of modernism, roughly 1880-1940. The first part of the course will treat novels built around a trial scene, in which the traditional philosophies of man's existence are called into question: Dostoevsky's Brothers Karamazov, Kafka's Trial, and Camus' The Stranger. The second part of the course will treat novels in which an artist hero proclaims aesthetic consciousness as an answer to the dilemma of existential doubt: Mann's Death in Venice, Lawrence's Sons and Lovers, Joyce's A Portrait of the Artist as a Young Man, and Woolf's To the Lighthouse. We will also examine the techniques developed by these authors, along with their contemporaries in the fields of art and music, for presenting these themes: expressionism, surrealism, impressionism, symbolism, and primitivism. Classes will be a combination of lecture and discussion. There will be two papers and a final exam. (Hannay)
434. The Contemporary Novel. (3). (HU).
The course will focus on a reading and discussion of fiction since 1945. There will be introductory lectures on the evolution of post-modern from the classic modern modes in fiction and on the chief features of the post-modern as exemplified by single novels of such writers as Beckett, Nabokov, Barth, Heller, Hawkes, Bellow, Mailer, Vonnegut, and Kosinski. Lectures and class discussion. One or two papers. The course is primarily for juniors, seniors, and graduate students. A background of courses in modern literature, while not necessary, will be most helpful. (Aldridge)
441. Contemporary Poetry. (3). (HU).
The course will survey the work of poets, both American and English but predominantly American, who have established themselves as central figures since 1950: for example, Robert Lowell, Allen Ginsberg, James Dickey, Gary Snyder, Sylvia Plath, Gwendolyn Brooks, A. R. Ammons, Robert Bly, and, for the English, Philip Larkin, Thom Gunn, and Ted Hughes. Method of instruction: class discussion, sometimes lecture. Only prerequisite is some experience of and interest in the reading and studying of poetry. Text: The Norton Anthology of Modern Poetry, ed. by Ellmann and O'Clair. Written work: one or two one-hour bluebooks, a final exam, and two medium-length outside papers (subjects to be chosen individually by the student). (Barrows)
446. World Drama: Congreve to Ibsen. (3). (HU).
This course should be useful to those interested in the sociology of literature, particularly the analysis of popular and "middle-brow" culture, as well as the history of drama. The aim is to see what happened to English drama between the reopening of the theaters (1660) to the turn of this century. This means we shall read some 25-30 plays representing, more or less in this order, neo-classical tragedy, the comedy of wit and manners, sentimental comedy, domestic tragedy, melodrama, and the "well-made" play. Every play we read (with one or two exceptions) will have been extremely popular in its time. Much of what we see today in films or on television had its genesis in this period, and may itself be analyzed by means similar to those we shall be using in our classroom discussions. Undergraduates will write two short papers, a midterm, and a final. Graduate students will meet different requirements. (Faller)
448. Contemporary Drama. (3). (HU).
Careful reading of representative British and Continental European plays since World War I (American Drama is the province of English 449). Consideration of plays in their relationships to dramatic (and cinematic) movements, theatrical backgrounds, social forces, world events, and trends of thought. English 448 complements English 447 (Modern Drama from Ibsen to World War I); the earlier course is not a prerequisite, but a knowledge of the early modern masters won't hurt. Readings will be chosen from among (not all) these playwrights: Pirandello, Brecht, O'Casey, Sartre, Camus, Giraudoux, Anouilh, Beckett, Ionesco, Genet, Osborne, Pinter, Stoppard, Durrenmatt, Hochhuth, Weiss and several others. Lectures and discussions, the quantity of the latter dependent upon class size. Some secondary reading and "outside" play reading in addition to about 20 basic plays. Students will write two papers (the second longer than the first), keep a reading log, and take a final exam. (Bauland)
455. Medieval English Literature. (3).
Heroic, Courtly and Popular Modes. The course consists of an intensive study and close reading of the English epic Beowulf, the romances King Horn, Havelok the Dane, and Sir Gawain and the Green Knight, the popular allegory Piers Plowman, Miracle Plays and the Morality Play Everyman, and ending with Malory's The Death of King Arthur. Class discussion and reading are interspersed with background lectures. The harder pieces are of course read in translation, but part of the pleasure of the course is to attempt easier works in the original with the help of extensive glosses. Two in-class essays on topics to be assigned, possible occasional short quizzes and a take-home final. Beowulf, Kennedy trans. Oxford Univ. Press; Donald Sands, ed. Middle English Verse Romances, Holt, Rinehart, Winston; A. C. Cawley, ed. Pearl and Gawain and the Green Knight, Everyman's Library; Goodridge, trans. Piers the Ploughman, Penguin; A. C. Cawley, ed. Everyman and Medieval Miracle Plays, Dutton; D. S. Brewer, Malory: The Morte D'Arthur, York Medieval Texts, Northwestern Univ. Press. (Garbaty)
457. Renaissance English Literature. (3).
The Erotic and the Sacred. This course will focus on two major traditions of one of the greatest epochs of English literature - the erotic and sacred verse of the Renaissance. We will examine a variety of different types of erotic poems, from the frankly sexual to the highly spiritual and the development of probably the finest body of religious lyrics ever written. Readings will include the poems of Marlowe, Shakespeare, Donne, and Jonson, as well as some background in the theory and practice of both sensual and heavenly love. Classes will include discussion and lecture, and there will be two oral reports, two short papers, and a final. (Shuger)
461. English Romantic Literature. (3). (HU).
In this course we will study mainly five romantic authors (Blake, Wordsworth, Coleridge, Shelley and Keats) for the sake of reading them as well as we can. We will discuss our readings and I will present materials relating to the background of, and to what stemmed from, the works of these authors. Written work will include short reports for discussion and a longer paper. (Wright)
471. Nineteenth-Century American Literature: Key Texts.
A Land of Promise and Broken Promises: 1860-1900. The fifty years between the Civil War and the First World War transformed American life rapidly and completely. The growth of the cities, the spread of industry, immigration, economic depressions, contrasting extremes of wealth and poverty, labor unrest, agitation for women's rights and other reforms, the impact of science on intellectual life – these and other factors seemed to threaten the very foundations of social order. New ideas of the self and new ideas of society - ideas which are, arguably, the basis of our own thinking – came into being. In this course we will study the most significant imaginative responses to this turbulent era. We will read Mark Twain, W.D. Howells, Henry James, Sarah Orne Jewett, Kate Chopin, E.A. Robinson, Theodore Dreiser; we will also study utopian fiction and the rise of mass literature. There will be a midterm (no final), a term paper and a number of brief written responses to readings. The class will be primarily discussion, with some lectures (usually directed to placing works in their historical and intellectual context). (Howard)
472. Twentieth-Century American Literature: Key Texts. (3). (HU).
This course will survey twentieth-century American poetry and fiction, studying closely the individual texts and their roles in the larger literary and cultural traditions. We will read poetry by Frost, Stevens, and Eliot, Hemingway's The Sun Also Rises (or possibly A Farewell to Arms), a novel by Faulkner - probably Absalom, Absalom! – Ellison's Invisible Man, poetry by Lowell and Berryman, stories by Flannery O'Connor, Barth's The Sot-Weed Factor, and Pynchon's The Crying of Lot 49. Requirements: attendance, discussion, one short paper, one middle-length paper, and a final exam. (Parker)
478/CAAS 476. Contemporary Afroamerican Literature. (3). (HU).
See Afroamerican and African Studies 476. (Jones)
482. Studies in Individual Authors. (3).
(HU). May be repeated for credit.
Section 001 – The Complete Hemingway. Except for the juvenilia, some of the more repetitive journalism, and two less than successful novels (Torrents of Spring and Islands in the Stream), the bulk of Hemingway's published work is read in this course. Moreover, in order to avoid the charge of an unnatural obsession with Hemingway, related works of two of his literary ancestors (Twain and Crane) and several of his close contemporaries (Stein, Anderson, and Fitzgerald) are examined. Although significant features of his biography are considered, assessment of his technical achievements and intellectual stature as a writer is of primary importance. Admiration of Hemingway is not a prerequisite for this course, and class discussion will probably flourish if the class has a few skeptics from the anti-Hemingway ranks. Course requirements include a paper, a midterm, and a final examination. (Eby)
Section 002 – Hardy and Frost. Thomas Hardy (1840-1928), better known to most readers as a novelist, was also a poet of
a certain rugged individuality. In his refusal to believe in a
benevolent God, his preoccupation with human loss in the passage
of time, and his sympathy with the ordinary people of the region
he called "Wessex" in southwestern England, he is recognizably the author of the novels, but his poems have a music, a poignancy, a resilience, and a countryman's phrasing that make them memorable
and lovable in their own right. Robert Frost (1874-1963) was also
a country-dweller, who made the landscape and human types of his
Vermont and New Hampshire equally famous in his poems. He resembles
Hardy in his interest in moral and metaphysical questions, his
persistent skepticism, and his development of a plain but unmistakable
style with a charm that is all his own. Hour exams, papers, a
final exam. Hardy's Complete Poems (Macmillan paperback)
and The Poetry of Robert Frost (Holt, Rinehart, &
Winston paperback). (Hill)
Section 003 – Dr. Johnson and His Circle. Whether considered as an author or as a subject for other authors, Samuel Johnson stands among the most important figures in English literature. Poet, essayist, and lexicographer, he was also a biographer whose life inspired a great biography, Boswell's Life of Johnson. He was at the center of a group of artists, actors, and authors, both men and women, who excelled individually and who shone as a group, making London in the mid- and late-eighteenth century brilliant with their works and their wit. Our approach will be primarily but by no means exclusively biographical: the principal handbook and guide will be Boswell's Life of Johnson, to be read as we follow the lives and work of Johnson, Boswell, Reynolds, Goldsmith, Burke, Fanny Burney, Hester Thrale, Hannah More, David Garrick, and others whose lives were powerfully affected by Johnson. This course offers students an opportunity to study two authors (Johnson and Boswell) in depth, to live familiarly in 18th-century London, to examine genres often neglected in literature courses (biography, travel literature, periodical journalism, lexicography, history), and to pursue special interests through study of members of Johnson's circle (a few examples – History: Burke and Gibbon; Aesthetics: Burke and Reynolds; the Theatre: Garrick and Goldsmith; the Novel: Goldsmith, Fanny Burney; Women's Studies: Fanny Burney, Hester Thrale, Hannah More, etc.). There will be a final exam, one common paper, and special projects tailored to the interests of individual members of the class. (Cloyd)
483. Great Works of Literature. (1). (HU).
May be repeated for credit if different works are studied.
Section 001 – Walt Whitman, Leaves of Grass. This one-credit class will meet once a week to discuss Walt Whitman's Leaves of Grass. We will concentrate on reading the poems, closely and carefully, but will also sometimes take a wider view and touch on such subjects as the contrast between early and late versions of a poem; Whitman's idea of America, democracy, the body; Whitman's continuing influence on American and world poetry. The class will be primarily discussion, with the instructor offering an occasional brief lecture to provide essential information. Required text: Leaves of Grass, Norton edition. Assignments negotiable (to be discussed first class), but probably several short papers. "When you read these I that was visible am become invisible,/Now it is you, compact, visible, realizing my poems, seeking me,/Fancying how happy you were if I could be with you and become your comrade;/Be it as if I were with you. (Be not too certain but I am now with you.)" (From "Full of Life Now.") (Howard)
Section 002 – Literature of Minority Women. This course will be an opportunity to examine the works of four American minority women: Maxine Hong Kingston (American-Chinese), Woman Warrior; Alice Walker (Afro-American), Meridian; Leslie Silko (Native American), Ceremonies and Rita Mae Brown (lesbian), Ruby Fruit Jungle. We will examine the nature of so-called minority literature, the perspective of each author, and their shared concerns. Students will be required to write one term paper, comparing all four authors. (Vicinus)
489/Educ. D 440 (School of Education). Teaching of English. Engl. 305 is prerequisite, and concurrent election of Educ. D 592 is required. (3). (HU).
Students should also register for Practicum in Teaching Methods, Education D-309, Section 061. This course seeks to provide practical approaches to the teaching of English at the secondary level. Topics covered by lecture-discussion include diagnosis of reading difficulties, materials for reading instruction, approaches to short story, poetry, and drama, outside reading, marking and grading of student writing, grammar and usage, getting a job, and the profession of teaching. But considerable class time will go to students discussing their observations in schools (through D-309), preparing lessons to try out in class, and planning for student teaching. Teaching language, composition and literature are the main concerns. (Dunning)
495. Honors Survey: Meredith to the Present. Admission to the English Honors Program. (3). (Excl).
This course is the final segment of the survey of British literature offered to students in the Honors program. We will treat works representing a wide variety of genres and themes, discussing their relationship to the literary tradition and historical development of Britain during the twentieth century. We will read poems by Yeats, Eliot, Auden, and Thomas; essays by Eliot, Forster, and Orwell; plays by Synge, Wilde, Beckett, and Pinter; and fiction by Conrad, Lawrence, Joyce, Woolf, Forster, and Drabble. Classes will be a combination of lecture and discussion. There will be three papers. (Hannay)
496. Honors Survey: Meredith to the Present. Admission to the English Honors Program. (3). (Excl).
This is a tutorial course in which the student writes a thesis. It is open only to members of the Honors program in English. (Hannay)
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