Courses in English (Division 361)


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 Winter 1984 there will also be one section of English 425.

Several 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 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. Students can expect to write six or more formal papers, as well as numerous informal exercises or impromptu essays.

Sections 048-053 are Pilot Program sections. See Pilot Program section of this Guide for more information about those sections.

Sections 100-104 of this course are designed to offer training in the fundamentals of writing for students who also have an interest in literature. Although they will share the essential aims of other sections of 125, these sections will differ from them in their emphasis on various kinds of literacy texts (formal essay, short fiction, descriptive prose, etc.). In studying these works closely we shall learn the importance of stylistic variation, persuasive techniques, the control of tone and point of view - all of those factors, in short, which go into the creation of a finished piece of writing. Course work will consist of weekly written assignments. Since these sections are being offered for the first time, only five sections will be open to enrollment.

167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).

The purpose of this course is for us to develop as writers of expository and argumentative prose, while reading and discussing six works by the greatest of all writers. Since the course satisfies the College English Composition requirement, our primary focus will be on student writing, which will include six or seven full-length essays as well as frequent shorter assignments. We will read the following Shakespeare plays: A Midsummer Night's Dream, 1 Henry IV, Twelfth Night, King Lear, Macbeth, and The Tempest. The work of individual sections will be complemented by weekly lectures on the plays and their backgrounds. (Garner)

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 Drama, Poetry and Fiction.

Section 003 Poetry.

Section 004-005 Fiction. These sections are for those who wish to write from experience and imagination. Students will be encouraged to experiment and take risks in their writing as well as to practice fundamentals. No special background is required for this course, which is a beginning course in fiction writing. The process of writing will be examined through reading and discussion, and much of the classwork will focus on student writing. Evaluation will take into account improvement in writing, amount of work turned in, and participation. There will be no exam. We will work with Elbow's Writing Without Teachers, and with one or two fiction anthologies. Our main business, however, will be to write. (Holinger)

Section 006 Drama, Poetry and Fiction.

Section 007 Fiction.

Section 008 Drama, Poetry and Fiction. This course will help students to understand and practice the rudiments of fiction, drama, and poetry. Each student will be expected to do some writing, including exercises and less structured assignments, in all three genres. As the course progresses, I will ask that you select an area of specialization in which to complete your final project. It's recommended that anyone taking the course be well-read in at least one of the three areas of writing. In class, we'll spend most of our time discussing your writing, but we'll also consider questions of craft and the writing of published authors. I'd like you to keep a notebook of ideas for writing: thoughts gleaned from experience, reading, and class discussion. Revision will be an important part of your work. Three to five pages of writing must be turned in each week, and a final project (35 to 50 pages of fiction or 15 to 25 pages of poetry or a one-act play) will be required. There are six required books: three texts and three anthologies. Grades will be based on class participation, notebook, assignments, and the final writing project. (Fulton)

Section 009 Poetry. In this course, students will learn the fundamental techniques and terms of poetry. We'll begin with an analytical study of craft, so that you may gain the critical vocabulary necessary for discussions. Writing exercises will be assigned, and students will keep a notebook of ideas, images, and phrases. Though the workshop's emphasis will be on the participants' own poems, we will also consider the work of a few contemporary, published poets. If you are going to take this course and aspire to write poetry, you should be acquainted with the beast: that is, you should have read and enjoyed some poetry, old or new or both. There are six required books: one text, one anthology, and four volumes of poetry. You will be asked to select a contemporary poet (preferably from the anthology we'll use) and to lead a discussion or write a short (three- to five-page) paper on the poet's verse. One new poem and one revision will be required each week. Grades will be based on class participation, notebook, assignments, and a portfolio of 15 to 30 pages of poetry. (Fulton)

Section 010 Fiction.

Sections 012-013. Closed to early registration.

225. Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).

This 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). (HU).
Section 001.

Section 002. This section of introduction to fiction will grapple with the problems of literary form by using the difference between fantasy and realism to define the conventions or "fictions" that govern our sense of reality. Using a variety of readings from Alice in Wonderland to Camus' The Stranger, we will determine what is "real" in fantasies and what is "fantasy" in realism. Readings include Grimms' fairytales, Conrad's Heart of Darkness, Kafka's Metamorphosis, Joyce's Dubliners, etc. (Norris)

Section 003. The instructor takes seriously the introductory nature of the course. A main purpose of all (interruptible) lectures, demonstrations, and class discussions will be to help students master the concepts indispensable to literary study (vs. casual reading) of fiction in several genres. Such labels as characterization, plot, point of view, imagery, dialogue, and the rest they lie inert on pages of glossaries of literary terms until one brings them to useful life by applying them to the goings on in great fiction. Reading is the main work of the course: We will give the first third of the term to short stories and novellas in a relatively fat anthology, the last two-thirds of the term to novels, all in paperback editions, by such authors as Austen, Hawthorne, James, Twain, Faulkner, Steinbeck, Kesey, DeVries. Required writing: An on-going course notebook (ungraded and required for a grade in the course), two hourly essays, a short course paper, a final examination. (Van't Hul)

Section 005. The material in this course has been chosen to allow us to see how fiction works and how one can effectively read and discuss it. We will examine numerous short stories written by European and American writers as well as some novels. Among the latter will be such major works as Jane Austen's Pride and Prejudice, James Joyce's Portrait of the Artist As A Young Man, F. Scott Fitzgerald's The Great Gatsby, Norman Mailer's The Naked and the Dead. Through class discussions and written assignments, we will consider the ways in which authors examine changing relationships between the individual and his/her society, their views of the development of individual consciousness and identity, as well as the artistic modes of presenting these concerns. (Norich)

Section 007. The purpose of this course is to help you like and understand fiction. We will read and discuss a selection of short stories and novels written in the nineteenth and twentieth centuries: Twain's Huckleberry Finn, Austen's Pride and Prejudice and Fitzgerald's The Great Gatsby for example. There will be short written exercises, two hour exams, a paper, and a final exam. (Lenaghan)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 002.
"Make it new," said Ezra Pound to a modern generation of writers, and his advice reflects an expectation that every reader has, not only of recent poetry, but of the great literature of the past as well. In this course, we will keep Pound's advice in mind as we go backward and forward through the history of English and American poetry, considering its continuities and departures, but always asking why the works we read are vital. In what ways are they new? How well are they integrated? What are their principles of order? Questions such as these are useful for the reading of any poetry, and we will ask them primarily in order to develop the ability to respond to literature with confidence and enjoyment. Discussion, therefore, is essential to the class, and so is essay-writing: both will help engage the responses that "new" poems invite. Requirements : three brief essays, a midterm and a final exam. Text: The Norton Anthology of Poetry. (Gellrich)

Section 003. Our aims in this course will be to learn how to understand and enjoy poetry better, and how to articulate both our understanding and our enjoyment. Our method will involve our reading a number of poems one or two per class, usually - discussing them carefully together, and writing about them both in daily "scribbles" and in formal papers. Our texts will be about fifty or sixty great poems by various poets from Shakespeare's time to the present, chosen from The Pleasures of Poetry, edited by Donald Hall, plus at the end of the term Galway Kinell's Selected Poems and Seamus Heaney's Poems, 1965-1975. For Honors students; others by permission. (Hornback)

Section 004. This is a course in the close reading of poetry; its aim is to equip the student with the skills needed to read poems with insight and enjoyment and with a basic knowledge of the tradition of poetry in English. We will attend carefully both to such matters as rhyme, rhythm, syntax, imagery and structure and to the import and emotional impact of poems. Our readings will be drawn from poetry in English from the 16th century to the present. The last weeks of the term will be devoted to thinking together about poetry by women and its relation to the canon, and to exploring the idea of "political" poetry; we will conclude with an intensive reading of at least one contemporary poet (perhaps Adrienne Rich). This class is a prerequisite for the English concentration, but is open to all no previous knowledge is assumed. There will be frequent brief papers and a final exam; everyone will be expected to discuss and write actively. Text: The Norton Anthology of Poetry, revised edition. (Howard)

Section 005. An introductory course in reading and thinking with pleasure about ancient and modern poetry (sex, power, struggle, love, labor, honor, immortality). No special knowledge is assumed; this course is required for entry into the department. We will begin with the familiar pop and punk rock lyrics in our pursuit of literary conventions and poetic forms, then find them in Sanskrit verse, in Homer's Odyssey, and in selected poems from The Norton Anthology of Poetry, revised edition. Readings will include Spenser, Marvell, Pope, Burns, Shelley, Browning, Christina Rossetti, Yeats, Pound. We will also consider such popular, "plebeian" kinds of poetry as the anonymous lyric, the broadside ballad, and the work song. We will end by comparing works by contemporary poets Philip Larkin and Carolyn Forche'. Throughout the term we will be asking how poetic forms are connected to perceptions of political power, sex and sexuality, class, race, codes of "heroism," individualism, and fame. Several short essays, a final, and most important, engagement in discussions, will be required. (Landry)

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. Written assignments include two formal essays and a final examination. (Patrides)

Section 007. We will read together poems that please me and are likely to please you. We will read poems of the fifteenth through the twentieth century, we will read them slowly, and we will try to discover both what and how they mean. As we read, we will pause longest in the poetry of John Donne, Emily Dickinson, and Dylan Thomas. The sole requirement for this course is that you take much pleasure in the English language. (Fader)

Section 008. This course will concentrate on improving reading of poetry. Written exercises of interpretation will serve that main purpose as will discussion and vocal recitation/performance of poems. (Wright)

Section 009. This course is intended to provide an introduction to the reading, understanding and appreciation of poetry. Though it serves as a prerequisite for the English concentration, it is open to anyone interested in reading poetry with increased pleasure and understanding. The course will familiarize students with the critical terminology useful for the discussion of poetry, but its main aim is to develop in students a sense of what it is to understand and to respond to a poem. Method will be by class discussion of individual poems. There will be numerous (probably daily), short, informal, ungraded (but required) writing assignments, one or more longer papers, and group presentations. Text: The Norton Anthology of Poetry, (full edition). (McSparran)

Section 010. Questions of very different kinds can be asked about a poem (What does this word mean? Does line 1 rime with line 4? Why does the poet talk funny?), and what is useful to ask about one poem may offer little help with another. We will try to develop both a versatile repertory of good questions and skill in choosing and answering the ones that will be fruitful with a given poem. The aim will be to experience the poem as it was intended, having refined that experience through close examination of its causes; to "read each work of wit," as Pope puts it, "With the same spirit that its author writ." The poems will be drawn from the last four centuries and will be of many kinds. We will work primarily through close reading and discussion of particular poems; from time to time we will try to view matters from the poet's perspective by composing short passages of verse of various types. There will be several short papers and exercises, a midterm, and a final exam. (English)

245. Introduction to Drama. (3). (HU).

This course is an introductory study of drama made by a survey of a large number of plays from ancient Greece to modern Europe and America. The fundamental things about the life of drama - its many forms and style, its aesthetic and rational habits, its being as both literature and theatre are the stuff of the course. The course will proceed by lecture, with discussion when possible, to put the plays studied into their historical and intellectual, literary and theatrical contexts. Students will be asked to be active in the study by presentation of scenes in class as well as by attendance at productions in the theatre. Three papers, one midterm, final examination. (McNamara)

270. Introduction to American Literature. (3). (HU).
Section 001.
Our first concern in this course will be to develop skills in reading, talking about, and writing about literature in general and some of American literature in particular, but we will also try to see the American texts as products and creators of the national culture that surrounds them. We will spend a little over half our time on material from the nineteenth century, and will give special attention to works from both the nineteenth and the twentieth centuries that consider American race relations (mainly Stowe, Twain, and Faulkner). Our reading will begin with stories by Ernest Hemingway and Nathaniel Hawthorne, and then move to Harriet Beecher Stowe's Uncle Tom's Cabin and two novels by Mark Twain, Adventures of Huckleberry Finn and Pudd'nhead Wilson. Then we will give four weeks to poetry by Robert Frost and Emily Dickinson, and finish with William Faulkner's Light in August. This course is appropriate only for people who expect to attend class regularly. Students considering the course are welcome, if they like, to consult with the instructor before registering. Requirements: attendance, discussion, a midterm and a final, and three short but thoughtful papers. (Parker)

Section 002. In this version of English 270 we will study the diversity of voices that make up American writing rather than focusing only on the classical canon. We will attempt to identify and understand essential themes and styles that tell us both what unites us as a people and what divides us as a nation of diverse peoples 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. And we will test with each other our individual reactions to the reading, thus learning together to read and to talk about our reading with increased sensitivity. Most, though not all, of the following works will be included: Baldwin's Go Tell it on the Mountain, Baraka's Dutchman, Chopin's The Awakening, Eliot's "The Wasteland," Gonzales' I am Joaquin, Hemingway's The Sun Also Rises, stories by Henry James, Kingston's Woman Warrior, Mailer's An American Dream, Morrison's Song of Solomon, Rich's Diving into the Wreck, Roth's Call It Sleep, Thoreau's Walden and "Essay on Civil Disobedience," Toomer's Cane, Walker's The Color Purple, and Welch's Winter in the Blood. There will be little or no lecturing. Emphasis will be on discussion, both large and small group. The nature and timing of papers and exams will be decided together by the class and the teacher. There will be opportunities for group and creative projects. (Alexander)

Section 003. Reading selections in this course will progress chronologically. We shall begin with two essays by Emerson (a course pack) and a novel by Cooper. Readings in Whitman (prose as well as verse) and Twain will follow. (Whether we take up Hawthorne, Dickinson, George Washington Cable, and Stephen Crane will depend on the availability of texts.) There will be a course pack for poetry of the present century since no appropriate anthology exists. The fiction of the present century will be illustrated by a series of novellas by such writers as Nathanael West, Edmund Wilson, William Faulkner, Toni Morrison, and Kurt Vonnegut. There will be a "journal assignment" (on Whitman) and three critical papers, the last to be accepted only in revised format. The final will be of a take-home variety to be handed in the last day of class. No prerequisites. (Sands)

Section 004. We will use poetry, novel, and drama to read and to talk about an American literature that will be as inclusive as possible: Fitzgerald and Candelaria (Chicano); Chopin and Maxine Hong Kingston (Chinese American); Jonathan Edwards (Puritan) and James Welch (Native American); Hemingway and Claude McKay (Afro-American). We will make some effort to discuss the distinctive features that cultural and racial pluralism imposes on our readings language, technic, characterization, and also the need to find ways of accommodating and differentiating the varieties of Americana that our texts and authors will ask us to take into account. We will begin the term with Herman Melville's drama of the high seas, "Benito Cereno," in which Spain, Africa, and North America are fatefully engaged in introducing us to a number of central themes in American literature. Class will be lecture (to introduce issues or less familiar Americana) and discussion. There will be journal reports, a 5-page paper, and a final paper. (Johnson)

285. Introduction to Twentieth-Century Literature. (3). (HU).

The subject of this course is the international literature of our century, with emphasis on modern and contemporary American fiction. We will read stories and novels by such writers as Robert Coover, Gabriel Garcia Marquez, Joseph Heller, Ernest Hemingway, Milan Kundera, Norman Mailer, Toni Morrison, Anne Tyler, and Kurt Vonnegut, Jr. We will take a primarily thematic approach to the literature, but we will not disregard matters of form and method. Relevant themes will include changing sexual attitudes and behavior, love and alienation, generational conflict, war and nuclear war, and the future. Guest lecturers, visits by authors, and perhaps a film or two will lend variety to our lecture/discussion format. There will be three short papers and a final. (Holinger)

Primarily for Juniors and Seniors

302. Writing About Good Books. (4). (HU).

English 302 is a course intended to assure that its students will graduate from this College knowing how to write lucid, persuasive, analytical, mature, articulate and maybe even illuminatingly graceful prose in their chosen disciplines. We will read 6 or 7 books demonstrating varieties of good contemporary prose in several fields, which may include fiction, science, current issues, the mass media, language, memoir, sports, humor. Lectures will focus on the issues raised by our reading, with the emphasis on how these texts say what they say effectively. Each student will produce approximately 35 pages of writing (including revision). The reading and classes should be fun; the writing will (as it must) be hard work. A cadre of experts will assist the lecturer. The class, dealing with the broader issues, is large, but the writing instruction specific to student papers will be personal. Obligatory one on one conferences with the assistants and small groups (if desired) insure the individual writer's progress with his own work. There will be no classroom examinations in English 302. Whether or not you can write good expository prose by the end of the course is your examination. (Bauland)

308(408). History of the English Language. (3). (HU).

This course is concerned with changes in the English language over a thousand years. Class sessions will involve lecture, discussion, and individual reports. There will be attention to political, social, and other forces that cause and influence changes in vocabulary, sounds, and grammar, with particular notice of pressures toward variation and toward regularization. A midterm and a final examination will be given. (Downer)

309(409). American English. (3). (HU).

Though primarily a course in the history of American English and its regional and social dialects, English 409 will this time examine these subjects in light of other varieties of English around the world (in, for example, Britain and Ireland, India and East Africa). Through lectures and discussion, we will explore some of the ways in which English has changed through time, by its dispersion through geographical space, and in its adaptation to new social circumstances. Though primarily a course in language, we will look at examples of literature not typically part of the curriculum (e.g., contemporary Indian poetry, literature of the American frontier, Caribbean short stories). In addition to a midterm and final, students will write a paper exploring in greater depth one of the subjects covered in the course. (Bailey)

315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits.

During the twentieth century women have represented their diverse experiences in some extraordinary novels. We will study a number of these novels, seeking to appreciate them as works of literature and using them as a focus for talking about women's lives. Texts will include Virginia Woolf, To the Lighthouse; Margaret Atwood, The Edible Woman; Johanna Russ, On Strike Against God; Anzia Yezierska, Bread Givers (see instructor for full booklist). No prerequisites, but willingness to read and discuss actively expected of all students. Class meetings will be primarily discussion, with occasional lectures. (Howard)

317. Literature and Culture. (3). (HU). May be repeated for credit.
Section 001 Writers of the Two World Wars.
The two World Wars in particular, the first "Great War" had the most profound influence in shaping the character of at least two literary generations and the work they produced. The course will be devoted to a study of that influence, the effect of the war experience in determining attitudes toward life, literary preoccupations and styles, the ironic, cynical, satirical, and "Black Humor" modes. The similarities and differences between the responses of the World War I and World War II generations will be examined through readings in the work of Hemingway, Dos Passos, Remarque, Fitzgerald, Heller, Mailer, and others. Lectures and discussion. Two short papers or one long paper will be required. (Aldridge)

Section 002 The Literature of Ireland. This course attempts an introductory study of the literature of Ireland from the 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)

318. Literary Types. (3). (HU). May be repeated for credit.
Section 001 American Gothic: 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 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 002 Novels of Espionage. Like all 200-level courses and above, this course may be elected only after the Introductory Composition requirement has been completed. Like all 300-level courses and above, it is intended primarily for juniors and seniors. A prerequisite for admission is the prior successful completion of at least two 200-, 300-, or 400-level English courses or the equivalent. In this course we shall read Joseph Conrad's The Secret Agent and Under Western Eyes, Somerset Maugham's Ashenden, John LeCarre's The Spy Who Came in from the Cold, Len Deighton's The Ipcress File, Anthony Burgess' Tremor of Intent, Graham Greene's The Human Factor, Eric Ambler's The Care of Time, and Adam Hall's The Peking Target. We shall study these novels not only to analyze the way in which their authors achieve their spectacular effects dependent upon intrigue, suspense, and action, but also to try to understand the psychology of the principal characters, the moral issues underlying the tradecraft of espionage, and the relevance of all these materials to events in today's world. Lecture, discussion, three tests, and an optional term paper. (Blotner)

319. Literature and Social Change. (3). (HU). May be repeated for credit.
Section 001 Literature and Genocide.
Premise and example: There are no full-blooded aborigines left in Tasmania, the result of "an evil matter" in which, among other things, "two native men were thrown overboard, and their hands chopped off when they tried to climb aboard. Truganini was taken, often ... As an old woman and sole survivor of her race, she was kept as a curiosity in Hobart, where she died on May 8, 1876. Her skeleton, the bones strung together, rests today in a coffin-like box in the basement of a Hobart museum." Issue: This course proposes to examine an "evil matter" genocide and the kinds of demands it places on literary creativity, expression, and criticism. Our examples will be from many places and cultures: Western and Eastern; the Americas; Australian and African; German and Japanese. We will look at the literature of perpetration and of victimization in a course in which, I hope, lecturing will be introductory and discussion substantial. Our first text will be a novel of ultimate extermination (attempted): Ibuse's Hiroshima novel, Black Rain. (Johnson)

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 will be taught during the Winter Term 1984.

Section 002 Poetry. This course intends to help beginning poets write more satisfying, better crafted poems. Students will complete exercises on imagination, form, and sound; they will also write a sequence of ten or twelve poems independent from those exercises. For early registration, Section 002 Submit three or four pages of recent work to the Undergraduate Secretary, 7607 Haven Hall, by November 18, 1983. A list of students accepted into the class will be posted on the morning of November 28 outside of 7607 Haven Hall and overrides will be available from the Undergraduate Secretary beginning on November 28. For regular registration, Section 002 Professor Dunning will admit up to the class limit from persons who submit four pages of recent poems to the Undergraduate Secretary by January 4. Names of persons admitted will be posted at the first class on January 5. Overrides will be available from Professor Dunning at that time. (Dunning)

Section 003 Fiction. This will be a workshop in the writing of fiction, of any sort and any length, as each member of the class decides. So class meetings will be devoted to discussion of work by members of the class, either read to it or duplicated and distributed in advance. No assignments as such, exercises, or exams, but each member must write at least 1200 words a week on the average. Excellence in the course will be determined either by brilliance in class discussions of other people's fiction or the brilliance of one's own, or both. Almost everything will be in reaction to what members of the group have written. Don't seek to enroll if you want something more structured. Admission on the basis of a fiction sample submitted to the instructor through the Department office. (Creeth)

325. Intermediate Exposition. (4). (HU).
Section 003.
The course will require writing of three kinds: (1) short, over-night or weekend pieces, accumulated throughout the term and stored in a folder to be collected bi-weekly; (2) weekly or bi-weekly finished (edited, typewritten) papers on choices of suggested topics, for variously contrived audiences and purposes; (3) a group project that begins early in four- or five-person discussion of readings in a chosen area, and culminates in an end-of-term report. A relatively short course pack will be the only required text. (Van't Hul)

Section 006. Emphasis in this course will be placed on the varieties of essay style. We shall write (and frequently revise) pieces which could very well appear in popular journals or in city weeklies which means we shall take up such forms as theater reviews, personality sketches, editorial expressions, social critiques, and event coverages. At first, no text as such is required other than a standard collegiate-size dictionary. As the term progresses, however, we shall read, discuss, perhaps imitate prose pieces appearing in current issues of The New Yorker, the Ann Arbor Observer, The Village Voice, and The New York Review of Books. These are to be purchased by each class member when use of them seems appropriate. Once we get to know each other, peer criticism of individual papers will be stressed and also "double revision" rewriting a given paper in a different style or from a different point of view. The final paper will be the longest assigned and prior to its completion each student will have at least two conferences with the instructor. (Sands)

355. Core I (Great English Books). (4). (HU).
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 of 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. In this course we will read some of The Canterbury Tales, from the beginning, and Paradise Lost, from the end of our time span. In between we will read a concentrated selection of short poems and two or three non-Shakespearean plays of the Renaissance. The class work will be largely devoted to discussion of some of the assigned readings. There will be short written exercises, at least two papers and an hour exam, and a final. The course text will be the first volume of The Norton Anthology of English Literature, 4th edition, ed. Abrams et al. (Lenaghan)

Section 003. This course covers what is thought by many to be the richest and most varied period of English literature, from the end of the fourteenth century to the middle of the seventeenth, the period of Chaucer, Spenser, Shakespeare, and Milton. Our primary objective will be to know the major works and to understand the major movements in literature during those centuries. As in any core course we will do a lot of reading and frequent writing. I will lecture part of the time; but learning is an interactive process, not a passive one, and I will expect informed participation from everyone during class discussion. There will be a final exam. (Ingram)

Section 004. 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 others, and at least one Elizabethan play. 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 and a final exam. (Smith)

Section 005. This course will be centered on late Medieval and early Renaissance English literature. Selections will include Chaucer's Canterbury Tales, some cycle plays, Everyman, Kyd's The Spanish Tragedy, Marlowe's Faustus, Shakespeare's Sonnets, Jonson's Volpare, and Milton's Paradise Lost. Class sessions will involve lecture, small and large group discussion, and student reports. Three critical papers are required. There will be a midterm and a final examination. (Downer)

Section 006. A course in some of the most esthetically satisfying and intellectually stimulating works of the Middle Ages and the Renaissance in England. Readings will include selections from Chaucer's Canterbury Tales, Sir Gawain and the Green Knight, a play or two by Shakespeare, poems by Spencer, Donne, and others, and Milton's Paradise Lost. Elements of form will be discussed and studied in all texts. Students should learn more in the course about meter and rhythm, about figurative language, about narrative expectations and disruptions, and about the epic poet's dialectical struggles with epic conventions. Historically, especially in Shakespeare, Donne, and Milton, we will try to understand the encroachments of scientific and rationalistic perspectives in writings created within a Christian civilization. Two papers, a midterm, and a final. (McIntosh)

356. Core II (Great English and American Books). (4). (HU).
Section 002.
We will read "major" works by "major" writers of the late seventeenth, the eighteenth, and the early nineteenth centuries. The course will attempt to combine close readings of texts with historical and cultural analysis. Questions to be addressed include: what makes a literary work "major" or canonical? Why are women's writing and popular or plebeian writing often considered "marginal?" What connections can be made between political and social history and literary modes and movements? In these works, how do sex and class function as categories of analysis and control? What is "Augustanism?" What is "Romanticism?" How do American "frontier" literature and culture grow out of conflicting Enlightenment and Romantic politics and literary policies? Readings will include works by Dryden, Pope, Swift's Gulliver's Travels, Johnson's Rasselas, poetry by Blake, Wordsworth, Coleridge, Shelley, and prose by Emerson and Melville. There will be one 2-page essay, two 5-6 page essays, an emphasis on active class discussion, and a final exam. (Landry)

Section 003. 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. Nathaniel Hawthorne will enter as a diarist and writer of fiction. 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 004. A course surveying the major literary movements, figures, and works in England and America between 1660 and the 1850's. We will read works in each of the major genres - poetry, fiction, non-fiction prose, and drama and we will explore a range of topics: the theme of the spiritual journey and its development in autobiography and the novel; satire in a world of unprecedented social change; views of the imagination; literary uses of the natural world; traditionalism and innovation in literary form; differences in literary sensibility between England and America. Authors will include Bunyan, Etherige, Congreve, Pope, Swift, Fielding, Johnson, Franklin, Wordsworth, Percy and Mary Shelley, Thoreau, Hawthorne, and Whitman. Lectures will provide historical, cultural and biographical backgrounds; they will be complemented by regular discussion. Participation in the course will include three papers (5-7 pages), short writing assignments, and a final exam. (Garner)

Section 005. A selection of major British and American works from about 1700 to 1850. Poetry, fiction and drama will receive approximately equal attention. Probable authors: Wycherly, Congreve, Pope, Fielding, Goldsmith, Sheridan, Wordsworth, Coleridge, Austen, E. Brontë, Hawthorne, Melville. Mainly discussion. Three papers (4-5 pp.), a midterm, and a final. (English)

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; Wycherly, 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, and 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). (HU).
Section 001.
This course will attempt to illustrate themes, techniques, and developments in English and American literature since about 1870, concentrating on a relatively small number of authors. Poets studied will be Browning, Tennyson, Arnold, T.S. Eliot, Wallace Stevens, and Auden (peripheral attention also to some of Arnold's and some of Eliot's criticism). A Shaw play will be included. Novels: George Eliot, Middlemarch; Hardy, Jude the Obscure; James The Ambassadors; Virginia Woolf, To the Lighthouse; Fitzgerald, Tender is the Night. Classes will concentrate on a discussion of the readings, only rarely using lectures, which are always informal and interruptible. Three short papers (on subjects students choose), a midterm, and a final examination. (Gindin)

Section 002. We will examine some of the major works in British and American literature from the Victorian period to the modern times. Most of our class time will be spent in discussion; we will approach each work both in itself and in relation to its literary context. Poetry to be read includes: Tennyson, Browning, Yeats, and Eliot. Fiction: Charles Dickens, Great Expectations; George Eliot, Middlemarch; Henry James, Daisy Miller; Virginia Woolf, To the Lighthouse; and Ernest Hemingway, The Sun Also Rises. Drama: George Bernard Shaw, Major Barbara. These readings may be supplemented by short selections from The Norton Anthology of English Literature, Vol. 2. There will be a few medium-length papers (4-6 pp.) and a final. (Radcliffe)

Section 003. The third in the three-course Core sequence in English and American literature, this course takes up masterpieces of the 19th and 20th centuries. We will read poems by Tennyson, Browning, Yeats, Eliot and Auden, and novels by Dickens, James, Joyce, Woolf and Faulkner. There will be two papers and a final examination. (Schulze)

Section 005. 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, Mrs. Dalloway; 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 006. Third of the three Core courses required for English majors, this particular section will also be appealing to those who are in other disciplines or working part-to-full time. Meeting for two-hour sessions (MW 7-9 pm) allows movement from lecture to discussion to group presentation within one period. We will be reading through fiction, poetry, prose, and drama both British and American from mid-nineteenth century to the present. Probable works: Dicken's Hard Times, Hardy's Tess, James' shorter fiction, Lawrence's short stories, West's The Day of the Locust, Updike's Rabbit Run; selected poems by Yeats, Arnold, Auden, Stevens, Plath, Rich and others; Didion's Slouching Toward Bethlehem, Woolf's A Room of One's Own, Baldwin's Notes of a Native Son; Miller's Death of a Salesman and possibly something by Shaw or Beckett. Several in-class writings, midterm and final. (DePree)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001.
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. There are no explicit prerequisites, but there are "expectations." You should like to read literature, and should be willing to work. If grades are a besetting problem, this probably isn't a course for you. Quoting Shakespeare: "When two men ride a horse, one must ride behind." 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 more than usually competent course graders, and much of the determination of your grade will rest with them. I have ordered for the course a series of Signet paperbacks, one volume to a play. Here is a suggested syllabus, not written in stone: Merchant of Venice, Henry V, Much Ado about Nothing, Julius Caesar, As You Like It, Othello, All's Well That Ends Well, Winter's Tale. (Fraser)

Section 002. Shakespeare was born in the country, moved to London as a young man, and got a job as an actor. He worked as an actor all his adult life, until he retired, and wrote plays on the side. In this course we will try to understand the man, his life and times, and the plays he wrote, and try to see them all as parts of a whole. We will read about ten plays, write frequent short papers, and have a final exam. If the class is unusually large, I suppose it will be mainly lecture; otherwise we will have both lecture and discussion. (Ingram)

393. Honors Survey: Eighteenth-Century English Literature. (3). (Excl).

A study of major writers in all genres during the period 1660-1780, with particular attention to the religious, political, aesthetic, and intellectual controversies in which their works participate. Authors include Dryden, Congreve, Swift, Pope, Addision, Steele, Farquhar, Gay, Fielding, Johnson, and Sterne. Lectures, often illustrated with visual and musical material from the period, will develop a context in which to read this literature with perception and sympathy; discussions, for which careful preparation is expected, will focus in detail on the texts. A short analytical essay, a midterm hour test, a longer essay at term's end, and a final examination. (Winn)

401/GNE 481/Rel. 481. The English Bible: Its Literary Aspects and Influences, I. (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 influence of the Scriptural documents, and thus our inquiry will focus often on differences between "fiction" and "mythology," "history" and "narrative," "interpretation" and "dream." 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 Varieties of Film Experience.

Section 003 Hollywood, Independent Film, and the Working Class. By permission of the instructor only. (Alexander)

413. Studies in Film Genre. (3). (HU). May be repeated for credit.

This course examines a number of comic American films from different periods to establish comedy as a motion-picture genre with specific themes and techniques, but also to see the way individual films are influenced by the social climate of their times. We shall also explore, from a larger perspective, the nature of comedy in various art forms and in the context of our every day reality. Among the works we shall study are Charlie Chaplin's The Gold Rush and Buster Keaton's The General, both silent films from the "golden age of comedy;" Horse Feathers, an anarchistic dialogue comedy featuring the Marx brothers; Ernst Lubitsch's comedy of manners, Trouble in Paradise; The Philadelphia Story, a marriage comedy directed by George Cukor; Some Like It Hot, a sex comedy directed by Billy Wilder; Stanley Kubrick's dark satire, Dr. Strangelove; Mike Nichol's social satire, The Graduate. We shall conclude by examining Mel Brook's The Producers and Woody Allen's Annie Hall, using these films also for discussions of ethnic humor and contemporary attitudes about the comic. (Konigsberg)

416/Hist. 487. Women in Victorian England. (4). (HU).

See History 487. (Vicinus)

417. Senior Seminar. Senior concentrator in English. (3). (Excl).
Section 001 Modern Women Writers.
This course will examine a wide range of novels written by modern women writers with a particular focus on the narrative forms generated by cross-cultural experiences of gender. It will be divided into three units, beginning with Colette's The Vagabonde, Virginia Woolf's To the Lighthouse, Christa Wolf's The Quest for Christa T. and Monique Wittig's Les Guerilleres to illustrate the diversity of narrative structures found between 1900 and 1980. It will then focus on the relationship between gender and race in the United States through an examination of Toni Morrison's The Bluest Eye, Alice Walker's The Color Purple, Maxine Hong Kingston's The Woman Warrior, and Theresa Hak Kyung Cha's Dictee. The course will conclude with two works from the Third World, Ruth Prawar Jhabvala's Heat and Dust and Nadine Gordimer's Burger's Daughter. Additional essays will provide an introduction to a variety of methodologies used in feminist criticism. There will be an oral presentation, two brief essays and a final paper. (Herrman)

Section 002 The End of the Elizabethan Age. This will be a study, through reading and discussion, of the transition - in poetry, prose, and drama from the age of Queen Elizabeth into the seventeenth century. It was, very broadly speaking, from idealism to realism and science, from Plato to Aristotle. We'll consider poetry of Spenser, Sidney, and Donne, prose by Hooker and Bacon, plays of Marlowe, Shakespeare, and Webster. A central text will be Shakespeare's Hamlet, which may be regarded as a document in this transition. Each member of the seminar will prepare and deliver at least one report on such topics as Machiavelli, Giordano Bruno, Tillyard's Elizabethan World Picture, Platonic love. And finally there will be a paper on some aspect of the transition. No examinations. (Creeth)

Section 003 The Beginnings of the Novel. The novel is the most recent of the major literary genres. It originates in a series of brilliant experiments conducted in England little more than 250 years ago. This seminar will begin with close readings of Defoe's Robinson Crusoe, Richardson's Clarissa, Fielding's Tom Jones, and possibly Sterne's Tristram Shandy. After this it will take whatever direction(s) seem suitable to students and instructor. We might look at "proto-novels" like Lazarillo de Tormes, Benn's Oroonoko, or Richardson's Pamela; at other novels by Defoe and Fielding; or at "novelistic" biographies like Manley's The Adventures of Rivella, Boswell's Life of Johnson, or Equiano's account of his life as a slave. Our chief interest will be with the ways prose narrative began to project worlds, fictive (usually) but seemingly as rich and complicated as our own. We may, too, ask why, in that particular country, at that particular time? Students will write frequent brief, informal papers, a midterm exam, and a research paper due at the end of the term. They will also be expected to report orally on their research and to participate vigorously in class discussions. (Faller)

Section 004 Hamlet. This course will be devoted to an exploration of the critical life of Shakespeare's Hamlet. After a thorough study of the text of the play, students will read widely in the history of Hamlet criticism with the aim of understanding how and why different ages have defined Shakespeare's masterwork for their own purposes. In addition, we shall be reading a good many works of literature poems, plays, even light fiction - based on the Hamlet story, for these products of the play also constitute a form of commentary. This is a seminar. Students will be graded on performance in discussions, on their assigned oral reports, and a final major paper. Students who concentrate in English are required to take English 417; this section is open only to senior concentrators in English who have already completed English 367 or an equivalent course in Shakespeare's principal plays. (Jensen)

Section 005 Contemporary Critical Theory. What is literature? What is criticism? We assume we understand fairly readily what these terms mean and that they are mutually exclusive. One of the things we will explore in this course is how current theoretical debate in this country questions this assumption, and explores the resourcefulness of each term for talking about the other. Initially we will look at some of the new critics and post-new critics (Brooks, Wellek, Wimsatt, Frye) where differences between literature and criticism seem to be fairly rigidly maintained. Then we will turn to some of the new French critical thinking (Saussure, Levi-Strauss, Derrida, Foucault, Girard), thinking that, among other things, seems to challenge this distinction. Finally in this survey, we will turn to some recent American appropriations of this material (Fish, Culler, De Man, Abrams, Miller, Jameson, Krieger) to see if we can assess continuities and discontinuities between older and newer approaches. Then in the final few weeks of the course we will turn to some examples of "great literature" to see what we now feel confident to say about this writing and what we feel it says to us. We will probably read a Greek tragedy, a play by Shakespeare, and perhaps a piece of fiction by Dostoyevsky. There will be a series of short papers and a final exam. Class will proceed by lecture and discussion. (Goodhart)

Section 006. 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. Many 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. Plays read will include (though not necessarily be limited to) this list: Aeschylus, Oresteia; Sophocles, Theban Plays; Aristophanes, Lysistrata; Shakespeare, Hamlet; O'Neill, Mourning Becomes Electra; Cocteau, The Infernal Machine; Anouilh, Antigone; Stoppard, Rosencrantz and Guildenstern Are Dead; Mishima, Modern Noh Plays; and 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 007 Romantic Narratives. We will discuss a group of narratives in which an important feature is a complex relationship between narrator and narrative. We will examine how these works explore questions like the following: How do the narrator's particular concerns shape his narrative? How are these concerns ambiguous, and what anxieties does this ambiguity create? Is the narrator a voyeur, or an exploiter of others? What are the implications of different narrative stances (e.g., distance vs. sentimentality)? How are spectators and actors opposed? How are the narrator and his characters similar or different? We will spend most of the term on Romantic poetry (Wordsworth, Shelley, and Keats), but we will conclude by looking at some later works: Conrad's Heart of Darkness, Fitzgerald's The Great Gatsby, and perhaps fiction by Borges or Nabokov. Requirements will include in-class reports, to be handed in, and a final longer paper. (Radcliffe)

Section 008 Tragedy, Philosophy, and the "Death of God." Nietzsche's famous aphorism in The Gay Science pulls the rug out from under a certain tradition of philosophic and humanist and this gesture has led to a frenzied activity in theoretical discussions throughout the humanities. In this course I would like to study some of the ways in which Greek tragedy already engages in full (and before the fact, as it were) this same nihilistic critique of Platonism in which today we are so embroiled, an engagement which succeeding traditions of philosophical and literary critical thinking (as they emanate from Plato and Aristotle) have worked strenuously to subvert. I will try to show that this tragic engagement is a version of prophetic thinking and akin to the mode of thinking of the great religious texts of our culture. We will read Plato and Aristotle on mimesis, take a long look at Sophocles' Oedipus Tyrannus, then survey Aeschylus' Agamemnon, Sophocles' Antigone, Euripides' Medea, and The Bacchae, and conclude with a look at Shakespeare's Hamlet, Beckett's Waiting for Godot, and Miller's Death of a Salesman in an attempt to assess the possibility of a persistence of this engagement in modern drama. We will also look at some of the major theorists of the tragic (Hegel, Nietzsche, Heidegger) as well as some of the classical critics (Knox, Vernant, Bradley) and some more recent theorists Girard, Goldman, Foucault, among others. Class will proceed by lecture and discussion. There will be a paper and a series of brief quizzes. (Goodhart)

Section 009. The seventeenth century is the gateway between the medieval and modern worlds. Its literature continues the traditions of the Renaissance and yet provides the model for the major poets of this century. It is the age of the religious wars and Metaphysical poetry but also the age of science, empiricism, and revolution. Between 1600 and 1700 the last and greatest flowering of oratorical prose slowly gave way to the modern prose style, while lyric poetry became more complex, individual, and private. This course will examine all the major non-dramatic genres of the seventeenth century, their backgrounds in art, philosophy, and literary theory and their relation to modern poetry and criticism. We will study the major poets (Donne, Greville, Herbert, and Milton) and the development of English prose (including the strange and wonderful meditations on death by Sir Thomas Browne and Jeremy Taylor). And we will try to look behind this literature to its origins in Classical rhetoric, Renaissance iconography, etc. and beyond it to its influence on modern poetry and poetic theory. (Shuger)

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.

Only English 423 is offered Winter Term, 1984.

This is the most advanced undergraduate writing course, and generally admits students who have taken at least one earlier course in the sequence. Its function is to further develop the student's skills in the writing of fiction. Class discussion will focus on manuscripts produced by the students, but will also include analysis of model stories from an anthology in order to gain insight into contemporary technique. Permission of the instructor is required. Leave a sample manuscript and phone number in my box in the English Department office during the Fall term. (Goldstein)

425. Advanced Essay Writing. Open only to seniors and graduate students; written permission of instructor is required. (3). (HU).

Although the essay will be the form of writing that will be our particular focus in this course because it is the most common shape of professional writing, the act of writing will be our general pursuit because it is essentially the same no matter what form it takes. Each member of the class will work both as a writer and an editor, the purpose of both being to make of each writer an editor able to meet his or her own needs. (Fader)

427. Playwriting. Permission of instructor. (3). (HU).

The craft of professional playwriting is taught through lectures on dramatic structure and basic outlining, the reading and analysis of plays, writing exercises, attendance at productions, and the writing of at least two one-act plays for the company of student actors attached to the class. A selection of the plays is performed for the public at the end of the term. Grades are based on attendance, level of participation, papers, and the mastery of basic playwriting craft as demonstrated in plays and criticism. Interested students should submit writing samples to Professor Pilkinton in the Theatre Office, 2547 Frieze Building no later than January 2nd. Students may inquire at 764-6330 or 7607 Haven Hall as to their status. Overrides will be available in 7607 Haven Hall. (Pilkinton)

429. The Writing of Poetry. Written permission of instructor is required. (3). (HU).

This course is for those who are serious about writing poetry. It meets once a week in the evening for three hours. A third of our time will be devoted to exercises, which will include reading aloud, writing from memory, improvisation and outside assignments. Two hours of every class will be devoted to reading student poems. Attendance is required at all class meetings. Absence will affect grade. Students meet with instructor at regular intervals for individual discussion of their poetry. Admission by permission. After December 1st push an envelope with 8-12 poems under the door at 2635 Haven Hall. Acceptance posted on door as of 17 December. One or two places held through January 8th. (W. Clark)

432. The American Novel. (3). (HU).

Like all 200-level courses and above, this course may be elected only after the Introductory Composition requirement has been completed. Like all 300-level courses and above, it is intended primarily for juniors and seniors. A prerequisite for admission is the prior successful completion of at least two 200-, 300-, or 400-level English courses or the equivalent. 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 additional basis for class discussion and analysis of the works and issues raised by them. There will be three one-hour tests and an optional term paper. (Blotner)

433. The Modern Novel. (3). (HU).

We will read a selection of great European novels written during the period of modernism, roughly 1870-1940. The first part of the course will treat stories of crime and punishment, using the hero's guilt to question traditional philosophies of the meaning of existence: Dostoevsky's Crime and Punishment, Conrad's Lord Jim, 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, Joyce's A Portrait of the Artist as a Young Man, and Woolf's To the Lighthouse and Between the Acts. We will also examine the techniques developed by these authors, along with their contemporaries in the fields of art and music: expressionism, surrealism, impressionism, symbolism, and primitivism. Classes will be a combination of lecture and discussion. There will be two papers, a midterm, and a final exam. (Hannay)

441. Contemporary Poetry. (3). (HU).

A study of American poetry since WWII, concentrating especially on Elizabeth Bishop, Theodore Roethke, Allan Ginsberg, and Robert Lowell, but surveying other important writers from the 40's to the present. We shall focus first on the formal verse of the 1950's typified at its best by Richard Wilbur; next, the autobiographical poetry of Plath, Ginsberg, Lowell and others; then the "deep image" school of Bly, James Wright, Kinnell, and Dickey. The course will culminate in a study of some of today's best younger poets. Previous poetry courses would certainly provide good preparation, but there are no prerequisites. In particular, a course in Modern Poetry (Pound, Eliot, Yeats, Williams et al) would be extremely helpful for students contemplating taking this class. An hour test, a midterm, two papers, and a final exam will provide the basis for evaluation. The class will be taught through a combination of lectures and discussions. Textbooks: The Longman Anthology of Contemporary American Poetry; Elizabeth Bishop, Geography III; Theodore Roethke, Words for the Wind; Allen Ginsberg, Howl & Other Poems; Robert Lowell, Life Studies & For the Union Dead. (Tillinghast)

445. Shakespeare's Rivals. (3). (HU).

This course is designed to provide the student with an understanding and experience of some of the major dramatists of the English Renaissance. It is not, however, a survey course; and no playwright will be included solely on grounds of "historical interest." Marlowe, Jonson, and Webster will receive special attention. Those interested in the course should know that Shakespeare will be a nearly unavoidable reference point throughout much of the course, so anyone who enrolls should have experience of Shakespeare at least equal to that provided by our course, English 367. Grades for the course will be determined by performance on examinations, one long paper, and additional work that may include extra class reports or involvement in a final project. That project, if interest warrants, is likely to be a theatrical presentation. Class time will be given over to lectures, regular discussions, and student presentations and projects. (Jensen)

448. Contemporary Drama. (3). (HU).

Detailed study of representative plays from the early, middle and late careers of four contemporary British playwrights Harold Pinter, John Arden, Tom Stoppard and Edward Bond. The dramaturgy of these playwrights will be explored through scene-work, discussion and written analysis, and set within the social, political and cultural context of post-War Britain. Playwrights of the 70's - Brenton, Hare, Churchill, Griffiths, Barnes will be introduced by means of individual research and class presentations. One term paper, midterm exam, and take-home final or end-of-term performance project. (Walsh)

449. American Drama. (3). (HU).

After a brief overview of American drama and theater before their coming-of-age in the early 1920's, we will concentrate on the major dramatists and movements since then, while not neglecting the scope of modern American dramatic productivity and theatrical activity. A common body of reading forms the basis for class discussion. It will focus on O'Neill, Williams and Miller and will also include representative works of Rice, Kaufman, Odets, Albee and several others, including some more recent playwrights of note or promise. Plays will be treated as dramatic literature, theatrical art, and manifestations of their historical, philosophical and social milieu. Students may choose their required outside reading from a wide list. Informal lecture and discussion, the amount of which will probably be a function of the size of the class. Reading journal (to be submitted twice); 2 papers (the second to be more ambitious); final essay examination. (Bauland)

455. Medieval English Literature. (3). (HU).
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)

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, including such matters as the growth and aftermath of Modernism and experimentalism; the catastrophe of world war; the tragedy of American race relations; existentialism, nihilism, and the absurd; and, at the end of the term, the strange fate of literature in an age and nation of English classes. We will read poetry by Frost, Pound, and T.S. Eliot, Hemingway's The Sun Also Rises and assorted stories, Faulkner's Light in August, Ellison's Invisible Man, poetry by Elizabeth Bishop and John Berryman, stories by Flannery O'Connor, Barth's The Sot-Weed Factor, and Pynchon's The Crying of Lot 49. Though we will sometimes turn to discussion, class size will probably require that we work primarily by lecture, and students should be aware of that before choosing the class. This course is appropriate only for people who expect to attend class regularly. Students considering the class are welcome, if they like, to consult with the instructor before registering. Requirements: attendance, one short paper, one middle-length paper, a midterm or a journal and a final. (Parker)

478/CAAS 476. Contemporary Afroamerican Literature. (3). (HU).

See Afroamerican and African Studies 476.

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 Dickens. Wilkins Micawber, that famous man of letters, wrote to David Copperfield, "Go on, my dear sir, in your Eagle course!... (We) watch it with delight, with entertainment, with instruction." We will undertake to follow Charles Dickens' "Eagle course" through six major novels, and will expect to read "with delight, with entertainment, with instruction." We will read each novel closely and carefully, exploring such themes as alienation and orphanage, education, the function of knowing and the role of the imagination, the meaning of work, and the philosophical significance of happiness. We will be concerned with Dickens the social critic and with Dickens the artist, with his realistic representation of this world and with the imaginative understanding which transforms this world into meaning. Oliver Twist, David Copperfield, Bleak House, Great Expectations, Our Mutual Friend, and The Mystery of Edwin Drood : that's about 4,000 pages of text, in the Penguin editions please. (Cliff's Notes are guaranteed to be utterly useless, so give your dollars to a worthwhile charity instead of wasting them on such junk.) Six short papers, plus daily "scribbles." Optional evening discussions at my home on Wednesday evenings. (Hornback)

Section 003 Blake. In this course we will study the scripictural art of William Blake's illuminated book/works together with the medium he invented for those creations and also some of his writings and works of graphic art and paintings. The principal illuminated works 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. Course work will include some interpretative writing and some making of illuminations and/or some dramatic/musical performance work with Blake materials. (Wright)

483. Great Works of Literature. (1). (HU). May be repeated for credit if different works are studied.
Section 001 The Morbid Muse: Capital Crime and Narrative Art in Steinbeck, Capote, and Mailer.
Capital crime and criminal protagonists have been a staple of fiction and of history as of journalism, the history that we read in daily installments - for centuries. Steinbeck gave us Of Mice and Men as "pure-fiction." Capote introduced his In Cold Blood as a "NON-fictional novel" which label offended his critics as self-contradictory. Norman Mailer's Executioner's Song is the most ambitious of all contemporary efforts to transform the media "coverage" of a murder, the murderer's life, his conviction, and his eventual execution to transform that coverage with a special kind of narrative art. Those three works are the assigned reading. Interruptible lectures and discussion will focus on the narrative devices by means of which Capote and Mailer purport to write neither "pure fiction" NOR "mere journalistic coverage" but a genre of literary art that somehow redeems the raw data of ordinary journalism and conventional history. Some course-long questions: What IS ordinary journalism or ordinary history? What would pure fiction be? How do the claims of literary art relate to counter-claims of pseudo-historical distortion? Read the three assigned texts sooner the better. A short course paper and a final exam are the required written work of the course. (Van't Hul)

Section 002 Moby Dick. "I have written a wicked book and feel spotless as a lamb," Melville wrote after he completed Moby Dick. In our month-long study of his extra-ordinary achievement, we will consider Melville's redefinition of the nature of evil along with myriad other issues posed by the white whale: cannibals, Christians, and the crippling aspects of New England Calvinism Melville despised; how we can and whether we can know anything of life, what Melville calls "the ungraspable phantom"; the whale as the world; Melville's adoption of all literary styles and genres epic, romance, lyric, tragedy, comedy, adventure tale, factual essay, and dirty joke within a single book; the Pequod as a depiction of a wildly self-destructive white American culture; Moby Dick as an encyclopedia of all human types with the exception, most strangely, of women. If you feel you haven't been experiencing a sufficient frequency of nightmares, Moby Dick will supply them; but Melville's work also proposes, however indirectly, a formula of health to the American dream. The course will proceed by a mix of lecture and discussion. I will ask you to keep a log of your insights and questions to culminate in an essay of about 10 pages. You must attend all class meetings; there will not be an examination. (Section 002 begins January 17, ends February 16 for Winter 1984). (Weisbuch)

Section 003 George Eliot's Middlemarch. Our text is one of the great novels in the history of fiction. It has been called the last great Victorian novel as well as the first great modern novel. Virginia Woolf called it the best novel ever written for an adult audience. Middlemarch was first published in eight monthly parts, between December of 1871 and December of 1872. We won't take quite that long to read it, but we will spread out our reading over the full fourteen weeks of the term, so that we can enjoy our work fully. The Norton Critical Edition of Middlemarch is recommended. Term papers due 10 April. (Hornback)

Section 004 Dion Boucicault: Irish Victorian Dramatist. The Dublin-born playwright Dion Boucicault was one of the most prolific and popular of dramatists in the Victorian era in England, Ireland and the United States. Though not by any means a great writer or a maker of dramatic masterpieces, Boucicault was both an extremely important force in the theatre of his day and an enduring influence in Irish theatre - as seen, for example, in the work of Sean O'Casey. In some 150 plays, mainly melodramas and farces, he kept Victorian theatres lit and busy: the Victorian period is reflected in the plays. This course, meeting once weekly, aims to give some account of the man, his works, and his times. We will select for study some half-dozen of the plays, including The Colleen Bawn, The Octoroon, and London Assurance (this last to be staged by University Players in April). Students in the course will be invited to consider the subject in one longish paper for course credit. No exams. (McNamara)

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 (formerly Education D-592). 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: The Twentieth Century. 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 English Department's Honors program. We will treat works representing three major themes and discuss their relationship to the literary tradition and historical development of Britain during the twentieth century. For the Irish Renaissance we will read poetry by Yeats, plays by Synge, and Joyce's Ulysses. For existentialism we will read the poetry of T.S. Eliot, Beckett's Waiting for Godot, and a play by Pinter. For feminism we will read Lawrence's The Rainbow, Woolf's To the Lighthouse, and Drabble's Realms of Gold. Classes will be a combination of lecture and discussion. There will be three papers. (Hannay)

496. Honors Survey: Twentieth Century English Literature. 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 English Department's Honors program. (Hannay)

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