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 kinds of expository prose.
Several sections of English 223, the beginning course in creative writing, are available each term; the work is multi-generic, in fiction, poetry, and drama. More experienced writers may apply for admission to specialized sections of English 323, English 423, English 427, and English 429. Not all of these advanced courses are offered each term. 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. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers conforming to the argumentative conventions of several different disciplines.
Individual course descriptions will be available for reference in 444 Mason Hall after November 13.
Sections 009, 012, 033, and 037 will be using wordprocessing.
Sections 024 and 051 (Pilot): Permission of Comprehensive Studies Program (CSP). These CSP sections are designed for students who want to be certain that they are highly prepared for writing assignments of all kinds and are willing to devote the effort necessary to do so. These sections will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.
167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).
The purpose of this course is for students 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 Introductory 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, King Lear, Macbeth, and The Tempest. After an introductory meeting, the remainder of the course will be conducted in individual sections. (Garner)
Primarily for Freshmen and Sophomores
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
220. Intensive Composition. Open to junior or senior transfer students only. Students must take the ECB Writing Assessment before registering for this course. (2). (Introductory Composition). May be elected for a total of four credits. A grade of B- or higher must be earned in English 220 to meet the Introductory Composition Requirement.
Intensive Composition is a course designed especially to meet the needs of entering senior, junior, and occasionally sophomore transfer students. Enrollment in English 220 is limited to senior, junior, and sophomore transfer students. It is a two-credit course, meeting three hours each week for an EIGHT-WEEK (half-term) PERIOD (January 8 to March 14). English 220 will be offered only during the first half of the Winter 1986 Term, and students must be enrolled before the Winter Term begins. The work in English 220 is intensive and the classes are small. This course meets the Intro-Comp requirement and students move from this course to the ECB-required junior-senior writing courses throughout the College. The course is repeatable once, for a total of four hours' credit.
Students enrolled in this course will write much and often - a minimum of 500 words each week. This course differs from English 125 in the pace of the assigned work, and in the assumed level of transfer students' experience as writers. Students are advised against taking this course as an overload. If you have any questions, please contact the Introductory Composition Office, 444 Mason Hall, 764-0418.
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.
All sections of 223 teach the writing of fiction (including personal narrative), drama, poetry. Different sections will emphasize the individual genres to varying degrees. Classwork involves the discussion of the process of writing and the work 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.
All sections of English 223 will have course descriptions available for reference in 444 Mason Hall after November 13.
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.
All sections of English 225 will have course descriptions available for reference in 444 Mason Hall after November 13.
Section 010 and 015: Permission of Comprehensive Studies Program (CSP). These CSP sections are designed for students who want to be certain that they develop a thorough understanding of argumentation and logical fallacies and are willing to devote the effort necessary to do so. The section will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.
230. Introduction to Short Story and Novel. (3). (HU).
Rather than a comprehensive survey of the short story and novel, this course offers an introduction to the basic techniques of analyzing prose fiction. Beginning with short stories, students learn to define questions of narrative construction, voice, characterization, theme, and style. As critical facility increases, the course will consider more challenging and in some cases experimental fiction. At least three novels will be read in addition to numerous short stories. Student should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.
All sections of English 230 will have course descriptions available for reference in 444 Mason Hall after November 13.
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. This section of English 240 will teach skills useful in the close and enjoyable reading of a poem. A prerequisite for concentrators in English, the course requires regular attendance, active participation, persistent practice in close reading, and critical/evaluative writing. I will try to make the work stimulating and satisfying. That work will include: (1) reading poems silently and aloud, and studying and discussing them; (2) reading from the text, and discussing issues it raises, keeping a journal of questions and responses as we read; and (3) writing "exercise" poems. Beyond such work, students will learn to relate one poem to other poems, to their selves, and to traditions and events; they will bring into play an increasing understanding of craft and a growing interest in the sounds, images and feelings generated by "the best words." The text, Western Wind (John Nims) is friendly, wise, and helpful. Also helpful will be our efforts to write both formal and free poems. Required papers: three short (2-3 page) papers; three quizzes on text; a reading journal; and a final project. (This might be critical or historical; might focus on an individual "poet hero/heroine," including imitations of that poet's work; or might deal thematically with poems from various poets. (Dunning)
Section 002. This course will focus on the traditions of English poetry and on the skills required to read poetry intelligently and with pleasure. We will discuss the rudiments of poetic terminology (genre, metrics) and some of the major themes in English poetry. We will pay a good deal of attention to the evolution of poetic forms and glance at the medieval and classical backgrounds to modern poetry. Requirements: several short quizzes, three papers, and perhaps some poetry writing. The basic text will be The Norton Anthology of Poetry. (Shuger)
Section 003. 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 your 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. 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. Text: Eastman, et al., The Norton Anthology of Poetry. (Lenaghan)
Section 007. An introduction to the close reading
of poetry and to the skills useful in talking and writing about
poems. I will group widely varied poems in small clusters according
to historical, formal, and thematic affinities to encourage meditation
on the history of English poetry, though there will be a strong
emphasis on works by contemporary writers. For the final paper, I will ask students to select a poem from current periodicals
in the Hopwood Room and to defend its merit using the critical
skills developed throughout the course. Although required for
English concentrators, no special merit is needed for this course.
Requirements: class participation, frequent short papers, and attendance at two poetry readings. The Norton Anthology of
Poetry will be supplemented by a course pack. Discussion format.
Section 008. The aim of this course is to learn to read poetry by doing it together. We shall give close attention to a series of poems drawn from different periods. Our focus will be on what makes each poem work as a poem: its formal and metric structure, its imagery, the tension between its rhythms and those of ordinary speech, its tones of voice and imagined speakers, its ironies, ambiguities, allusions, and surprises. Our central questions will be what kind of meaning each poem has and how that meaning is made. During the course you will be exposed to many different forms of poetry and many different authors. At the end we will spend a few weeks on the work of a single poet, to be chosen by me after consultation with the class. This is a discussion class and accordingly your attendance and participation are strictly required. There will be three short papers, a midterm, a final and a series of short exercises. This course is required for English concentrators. The text is the Norton Anthology of English Poetry. (White)
Section 009. Our aim 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 Norton Poetry Anthology, plus – at the end of the term – Seamus Heaney's Poems, 1965-1975. (Hornback)
Section 010. This section of Introduction to Poetry will be confined to the short poem, and isn't based in any deliberate way on particular "topics" or "themes." My method is to teach from the open book, and to ask from the class a maximum of participation. I.e., be prepared to chip in. No special background is needed, though obviously any student taking the course ought to be interested in poetry and want to learn more about it. The course is part of a departmental sequence, and in fact is a prerequisite for concentrating in English. This doesn't mean that non-English concentrators aren't welcome. Evaluation depends on a final, a midterm, one or two short papers (all of these being essay in kind), and my sense of the student's performance in class. I plan to use the Norton Anthology of Poetry. (Fraser)
Section 011. English 240 is a general introduction to poetry. The aim of the course is to learn to respond intelligently and sensitively to poetry as a literary genre. During the term, we will look at the various "elements" of poetry (theme, tone, allusion, imagery, etc.) and become familiar with the way these elements combine and interact in a range of poetic forms. Of particular interest will be the language of poetry. How can poets craft the language of a poem (its diction, sound, rhythm, syntax, etc.) to further an argument, intensify an emotion, or clarify a perception? The requirements for the course will be four short papers (3-5 pages) and one longer paper (5-8 pages). Our texts will be The Norton Anthology of Poetry and Rhymes' Reason by John Hollander. (Cureton)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
This course is designed especially to introduce students to the world of theatre and drama. No prior experience is required, only an open curiosity about plays, playwrights, theatres, and theatre experiences at different times in Western cultural history. We will read and discuss playwrights preeminent in the theatre's history. The focus of the course will be on theatrical conditions - stage size and shape, acting style, costuming and scenic decor, and audience. Visitors from several University departments will give formal lectures on broad background topics. There will be three short papers and a final examination. (Brater)
270. Introduction to American Literature. (3). (HU).
This is not intended as a survey of American literature, but rather as an introduction to the area and to methods useful for exploring it. Students will read poetry, fiction, drama, and essays from various periods and by writers of varied temperament. Class discussions will consider ways of analyzing these works, in terms of theme, characterization, and style, for example, as well as in relationship to their authors, audiences, and other contexts. Students will be asked not simply to come to an understanding of separate works, but to pose integrative questions: what is American literature? how does the culture relate to the country and/or the continent? and is it American Literature or American literatures? Substantial amounts of reading will be expected, as will participation in class discussion and the writing of several short literary analyses.
All sections of English 270 will have course descriptions available for reference in 444 Mason Hall after November 13.
280. Thematic Approaches to Literature. (3).
Military Combat. In this course we will explore the difficulties inherent in representing war – a phenomenon that is, in a sense, too complex in organization, too large in scale, too illogical, too significant, too frightening, and too painful to be represented at all – except through intellectual strategies of reduction, simplification, rationalization, idealization, domestication, and anaesthetization. To focus this unmanageable topic, we will take the specific phenomenon of military engagement or combat, and look at its representation in fiction and other prose. We will try to determine what is the unspeakable in violence, the nature of the symbolic matrix and ideology in which our culture embeds killing and dying, the locus of the excitement and drama that makes combat an appealing subject of literary representation, and other problems of the way the intellect and imagination confronts and assimilates this phenomenon. If you plan to take this course, you should read Tolstoy's War and Peace over Christmas break because it is too long to assign in class. Other texts we may consider are Crane's The Red Badge of Courage, Mailer's The Naked and the Dead, Remarque, All Quiet on the Western Front, Coppola's Apocalypse Now, as well as selections of political, military, and journalistic prose writings. Two analytical papers will be required. (Norris)
285. Introduction to Twentieth-Century Literature. (3). (HU).
The subject of this course is the international literature of our century, with an emphasis on modern and contemporary American fiction. We will read stories and novels by such writers as Albert Camus, Gabriel Garcia Marquez, Ernest Hemingway, Leonard Michaels, Toni Morrison, Tim O'Brien, Alexander Solzhenitsyn, Anne Tyler, and Kurt Vonnegut, Jr. We will take a primarily thematic approach to the literature, but we won't disregard matters of form and method. Relevant themes 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 two or three short papers, possibly a midterm, and a final. (Holinger)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (HU).
The goals of this course are to engage students in books that are enjoyable and instructive and to help them learn to write more effectively and with increased pleasure. Students will select books from a list that offers significant choices in both style and content. A book and paper will be required about every two weeks. The papers will deal with the books' meaning to the student. In some lectures and in comments on papers, the instructor will explore the factors that contribute to clear, direct, and creative writing. The importance of revision will be stressed. The general problem of writing well will be presented as each individual's search for the best language to express his or her own meanings. Most of the standard formulas taught in schools do not apply. For part of the term, students will be required to work in pairs or small groups, usually without an instructor or course assistant. This may well be the most important part of the course, and its success will depend upon a special kind of self-discipline. This course can be used to fulfill the junior-senior writing requirement. Students seeking to meet that requirement should indicate their intention to do so by adding the ECB modification when they register. (Meisler)
308. History of the English Language. (3). (HU).
Do you know what Indo-European means, or what kind of English King Alfred, Chaucer and Shakespeare used? Do you know why we say drink, drank, drunk, but not think, thank, thunk ? Do you know that silly once meant 'good', buxom meant 'obedient', and lewd meant 'uneducated'? This course, an introduction to the history and development of the English language, will answer these, and other questions you may have about the English we speak and write. We will look at the historical and cultural developments which have shaped the language, and examine systemic changes at the levels of pronunciation, grammar and syntax. Grades will be based on class participation, occasional short quizzes, a midterm and a final exam. (McSparran)
314. Topics in Literature Before 1800. (3).
(HU). May be repeated for a total of 6 credits with department
Studies in Seventeenth Century Lyric. A reading of poems by Jonson, Donne, Herbert, Herrick, Milton, and Marvell, with particular attention to the formation of the poetic self, expectations of genre, and the interplay of religious and secular themes and motifs. Requirements: active participation in class discussion, two papers, and a final examination. (Gasbarra)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
This course will examine a series of novels written by women in the twentieth century. They will be read in terms of the light they shed on female experience as well as on the literary structures women writers have used to articulate that experience. Topics such as the mother-daughter relationship, the choice between work and marriage, the intersection between race, class and gender will be discussed. In addition questions of feminist literary criticism, such as women writers in literary history, women as writers in marginalized cultures and as innovators within the genre of the novel will be addressed. Selected works are: Colette's The Vagabond, Atwood's Lady Oracle, Rhys' Good Morning, Midnight, Morrison's The Bluest Eye, Emecheta's Second Class Citizen and Woolf's Orlando. Class will consist of lectures and small discussion groups. There will be two papers, a midterm and a final exam. (Herrmann)
317. Literature and Culture. (3). (HU).
May be repeated for credit with department permission.
Section 001 – Literature and Homicide. This course is interested in the ways in which narrative prose deals with provoking social facts. Homicide is certainly such a fact, and this course examines three very different ways in which imaginative writers have treated it. In the first of these, conveniently unreal situations are shaped by certain relatively simple formulae; the most notable instance of this is the murder mystery or detective story. We will be reading murder mysteries by Agatha Christie, Georges Simenon, Raymond Chandler, and James McClure. In the second, actual crimes are cast into narrative modes that make them more comprehensible, or at least less disturbing, than they would be were they otherwise left unretouched. This phenomenon we see operating every day in the various journalistic media, or in books like Truman Capote's In Cold Blood and Norman Mailer's The Executioner's Song, both of which we shall read. In the third and most considerable of the narrative modes, the situation of the murderer is explored by novelists who are interested in what it may be made to say of the general human condition. We will conclude the course by reading Dostoevsky's Crime and Punishment , Camus' The Stranger, and Faulkner's Light in August. The course will proceed mostly by lecture, but strenuous efforts will be made to allow for some discussion. The course is designed to accommodate students from other departments who, though they have no extensive background in literature, have a lively interest in the way that our real and imaginary experiences of socially important phenomena are organized, and to what effect. (Faller)
Section 002 – Literature and Culture of Ireland. This course proposes an introductory study of the literature of Ireland from earliest times to the present. This means that we select for reading 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 has no prerequisite and does not presume prior acquaintance with the subject nor with Irish history, though students with some knowledge of Ireland and its history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. There will be brief quizzes weekly but no hour exams. Two shorter papers and one longer one will be written, and a final examination. (McNamara)
Section 004 – Language in Law. Doctor, lawyer, merchant, professor – each has the English language in common with all of us. What lawyers and judges speak and write is virtually "all they do." How they speak and write is Greek to almost all but them. Legal literacy, like all other kinds, is a specialized way of behaving with language. The behavior is suited to peculiar audiences, purposes, and situations. In the course: (1) Brief early attention to how, in the English and American past, legal English "got that way"; (2) some attention to the lexical and syntactic features of the legal code in today's spoken (court-room) and written (legislative and judicial) uses; (3) extensive reading and discussion of (a) an ample course packful of essays and chapters by legal, psychiatric, and socio-linguistic scholars; and (b) some short fiction (including Melville's Billy Budd). To summarize: the purpose of the course is to study principles and practice in the language behavior of lawyers and judges (and of witnesses and juries too). An ultimate, extra-curricular ideal is to relate this study to one's idea of a just society. For such reasons, the course does NOT figure (a) to affect the outcome of the student's conceivable day in any court of law; or (b) to raise by even one point the student's LSAT score; or (c) to gain for the student any practical advantage – whether for gaining admission to a school of law, or for competing within a school of law for a place in its students' pecking order. Lectures (some by guest experts in law and related professions); demonstrations and experiments; short written exercises; a course paper; a midterm and a final exam. (Van't Hul)
318. Literary Types. (3). (HU). May be
repeated for credit with department permission.
Science Fiction. This lecture course will examine the history and diversity of science fiction prose by reading some of the best examples written since the beginning of the nineteenth century. Generally, we will approach each primary text through a consideration of its backgrounds (scientific, mythic, and so forth), through specific questions the text raises (moral questions, questions of plausibility, and so forth), and through the traditional discipline of criticism (what is science fiction? what is the relationship of character to theme? and so forth). Grading will be based on a contract-type system tied primarily to frequent writing of one-page papers. The texts: Robert Silverberg, ed., The Science Fiction Hall of Fame, vol. 1, Avon (1934-1963); R. Scholes and E.S. Rabkin, Science Fiction: History, Science, Vision, Oxford U. Press (1977); Mary Shelley, Frankenstein, Dell (1818); H. Bruce Franklin, ed., Future Perfect, Oxford (pp. v-239); H.G. Wells, The Time Machine and War of the Worlds, Fawcett (1895 and 1898); Eugene Zamiatin, We, Dutton (1929); Karel Capek, War With the Newts, AMS (1937); Olaf Stapleton, (Last and First Men &) Star Maker, Dover (1937) Ray Bradbury, The Martian Chronicles, Bantam (1946-1950) F. Pohl and C.M. Kornbluth, The Space Merchants, Ballantine (1953) Arthur C. Clarke, Childhood's End, Ballantine (1953) Walter M. Miller, Jr., A Canticle for Leibowitz, Bantam (1959); Robert A. Heinlein, The Moon is a Harsh Mistress, Berkley (1966); Ursula K. LeGuin, The Left Hand of Darkness, Ace (1969); Isaac Asimov, The Gods Themselves, Fawcett (1972); and Michael Bishop, No Enemy But Time, Doubleday (1982). (Rabkin)
323. Creative Writing. Junior standing and written permission of instructor. (3). (HU). May be repeated for credit.
This will be a workshop in the writing of fiction of any kind and length each student desires to undertake. Subject matter, themes, genre are entirely at the student's discretion. A thousand to 1200 words a week quota to be submitted at least every two weeks. Most class meetings devoted to consideration of writing by the class. No text or exams. People interested in enrolling should submit a short sample of their work to the Undergraduate Secretary (7607 Haven) and check back with her in a few days for the list of those admitted to the workshop. (Creeth)
325. Intermediate Exposition. (4). (HU).
This course give students practice in writing expository prose, usually in a variety of non-fiction forms. Its basic goal is the development of an effective personal style, with attention to tone, nuance, and figurative expression. Assignments, totaling 40 pages of prose, will vary in kind and will allow students to draw upon their experience where possible. A long paper may be assigned. It is assumed that students in this course already understand such basic elements of composition as the sentence and the paragraph.
All sections of English 325 will have course descriptions available for reference in 444 Mason Hall after November 13.
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 concentrators. Texts: Chaucer, Canterbury Tales, Cawle, 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. Studies representative works of English literature from the later Middle Ages through the Renaissance. Readings: selections from The Canterbury Tales; Sir Gawain and the Green Knight; Everyman; and selections from Sidney, Spenser, Marlowe, Shakespeare. Jonson, Donne, Marvell, and Milton (including the whole of Paradise Lost). Requirements: active participation in class discussion, two papers, a midterm, and a final examination. (Gasbarra)
Section 003. In this course we will study some great English works written before 1700. Class format will include lectures on the cultural background of the Middle Ages and the Renaissance, plus discussions of the texts themselves. We will read Beowulf and Sir Gawain and the Green Knight (in translation), selected Canterbury Tales, Dr. Faustus, short poems from the Renaissance, and Milton's Paradise Lost. Students will write two 5-page papers, a midterm, and a final examination. (Pickett)
Section 004. A selection of works from the late Middle Ages through the Renaissance, e.g., The Canterbury Tales; Gawain and the Green Knight; medieval plays; The Faerie Queene; poems by Donne, Herbert, and Marvell; Volpone; The Duchess of Malfi; Paradise Lost. Mostly discussion, occasional lecturing; oral presentations by student panels; modest attempts at staging two of the plays. Three papers, a midterm, and a final exam. (English)
Section 005. 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, three papers and two special exams, 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 006. This course will cover some of the major works of English literature from the earliest times through the seventeenth century. Included are Beowulf (in translation), Chaucer's Canterbury Tales (a selection), Sir Gawain and the Green Knight, two Elizabethan and Jacobean plays, Shakespeare's Sonnets, lyrics by Herbert and Donne, and Milton's Paradise Lost. As an aid to understanding and appreciating the early works, we will examine the cultural background of the Middle Ages, partly through appropriate movies. Instruction will be mainly by lecture, but there will be ample opportunity for discussion. Two short papers, a midterm, and a final will be required. The main text will be The Norton Anthology of English Literature, Vol. 1, 4th edition. (Matheson)
356. Core II (Great English and American Books). (4).
Section 001. 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; and 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)
Section 002. The course will depend on two basic contrasts: between the classical literature of wit and control in the eighteenth century and the romantic literature of dynamism and discontent in the nineteenth; and between British and American forms of romanticism. Thus, for example, Blake will be considered in relation to Pope on the one hand and to Whitman on the other. We will proceed in five stages. (1) The Age of Reason: Satire and Hate (Pope, Swift, Austen); (2) The Revolt of Energy: Romantic Radicals (Blake, Emerson, Whitman); (3) Natural Supernaturalism: The High Romantics (Wordsworth, Coleridge, Thoreau); (4) The Dark Underside: Romantic Evil (Hawthorne and Melville); (5) The Last Romantics: Toughing it Out (Keats, Dickinson, Brontë). At the beginning of each stage I will offer a lecture and debate. In addition, I hope to organize some optional guest-lectures on the art and music of the periods. Written assignments: three essays of about six pages each; a final examination. (Weisbuch)
Section 003. We move historically from English neo-classicism to English romanticism to American post-Puritan modernist romanticism, and generically from the 18th century English novel to 18th and 19th century English poetry to the mixed media extravaganzas of "classic" American literature. Special attention will be given to the development of English poetry, to the mutations of narrative in English, to the philosophical hopes and fears expressed through English romanticism, and to the distinctive cultural conditions that made American literature possible. Probable authors: Pope, Swift, Johnson, Fielding, Austen, Blake, Wordsworth, Coleridge, Keats, Thoreau, Hawthorne, Melville, Dickinson, Whitman. Two papers, an hour exam, and a final. (McIntosh)
Section 004. "Revolutionary" best describes many events of the era covered in English 356: the English Civil War and Glorious Revolution, the scientific and industrial revolutions, the French and American Revolutions all occurred between 1660 and 1850. In this course, we will read and discuss literary texts in which the men and women of this turbulent period responded to the challenges posed by political, philosophical, and cultural change. Authors include Dryden, Pope, Swift, Defoe, Fielding, Johnson, Blake, Austen, E. Brontë, Wordsworth, Coleridge, Byron, Shelley, Keats, Hawthorne, and Melville. Course requirements include class attendance and participation, three (5-7 page) essays, and a final examination. (Thomas)
Section 005. This course is devoted to representative works of eighteenth and nineteenth century literature – some of them canonical, some not. It is impossible to offer a definitive survey of the period in one term, but the readings will illuminate major shifts (and continuities) in style, theme, and aesthetic ideology from the age of Pope to that of Romanticism in its English and American forms. We will read the following works: Pope, Rape of the Lock; Lady Montagu, Letters; Defoe, Moll Flanders; major lyrics by Collins, Gray, Coleridge, Wordsworth, Keats, and Shelley; Mary Shelley, Frankenstein; Emily Brontë, Wuthering Heights; Emerson, Nature; Hawthorne, The Blithedale Romance; poems by Whitman and Dickinson; Stowe, Uncle Tom's Cabin; and, if time, Alcott, Little Women. Requirements: class participation, several papers, a bibliographical exercise, and a final essay exam. Discussion format. (Ellison)
357. Core III (Great English and American Books). (4).
Section 001. This course, the final in the Core sequence required of English concentrators, will treat poetry and fiction representative of major cultural periods in Britain and America from mid-nineteenth century to the present. Our reading list will likely include: for nineteenth-century – Hardy's Tess of the d'Urbervilles and James' Washington Square and other short works; for the Irish Renaissance – Yeats' poetry; for English and American modernism – Lawrence's Women in Love, T.S. Eliot's poetry, and possibly Faulkner's Light in August; for English and American post-modernism – Drabble's The Ice Age and Morrison's Song of Solomon. My section will emphasize the improvement of the students' writing, with rough drafts and conferences recommended for three medium-length papers. There will be a midterm and a final exam. Classes will be a combination of lecture-discussion, with emphasis on discussion. (Hannay)
Section 003. The last in the three course sequence in British and American masterpieces required of English concentrators, this course begins with Browning and Dickens and ends with Faulkner. We also consider works of James, Shaw, Joyce, Woolf and T.S. Eliot. We will attempt to trace the history of modern literature in relation to cultural traditions and changing social circumstances. Discussion and some lecturing. Two papers (5-6 pages), a midterm and final. (Schulze)
Section 004. This course provides a survey of the major works of fiction and drama from the mid-nineteenth century through World War II. Although some poetry will be read, the emphasis will be on major British and American novelists from Dickens to Faulkner, as well as the leading twentieth century dramatists. Writers covered include Dickens, Browning, Hardy, Twain, Conrad, Faulkner, Beckett, T.S. Eliot, and Henry James. Every attempt will be made to emphasize the development of narrative techniques, similarities in thematic concerns, and the history of the novel as a genre as the course proceeds. Three papers and a final exam are required. (J. Fischer)
Section 006. Mid-nineteenth to twentieth century literature. Third of the three Core courses required for English concentrators, this particular section will be appealing also to those in other disciplines or those working part-to-full time. Focus for the term will be on works by major British and American authors concerning the laboring class: Dickens' Hard Times, Hardy's Tess of the d'Urbervilles, West's Day of the Locust, Woolf's A Room of One's Own, Didion's Slouching Toward Bethlehem, Baldwin's Notes of a Native Son, Updike's Rabbit Run; plays by Miller and Pinter, a variety of poetry and short essays. Meeting in two-hour blocks allows movement from lecture and discussion to group presentation within one session. Several in-class writings, midterm, major paper. (Depree)
367. Shakespeare's Principal Plays. (3).
Section 002. In this course we will study about a dozen of Shakespeare's principal plays, all of them comedies. This will enable us to study 12 or 13 plays each in its own right, from the earlier, middle, and later periods of Shakespeare's career, as well as to explore the idea of Comedy as it informs and develops in these plays throughout that career. Three hour examinations (with the option of one paper to replace one of the exams) and a final examination. The course is conducted by lecture, with occasion for discussion as the opportunity arises. (McNamara)
393. Honors Survey: Eighteenth-Century English Literature. Admission to the English Honors Program. (3). (Excl).
English 393 will feature a survey of some major topics in eighteenth century studies, such as the art of the couplet, the role of political satire, the influence of journalism, the changing status of women, and the evolution of the novel. We will read and discuss relevant texts, as well as considering the insights provided by selected criticism. Representative authors include Dryden, Swift, Pope, Defoe, Fielding, Johnson, and Sterne. Course requirements include class attendance and participation, one short (5-7 pp.) essay, a midterm, one long (12-15 pp.) essay, and a final examination. (Thomas)
411. Art of the Film. (3). (HU). May be
repeated for credit with department permission.
From Fiction to Film. Many film classics – from Gone with the Wind to Kiss of the Spider Woman – are based on works of literature. This course investigates the dynamics of cinematic adaptation in order to discover how film develops such literary resources as point of view, plot, symbolism, and interior monologue. Each week we will read a play, short story or novel and view a film based on that work. We will see a wide range of movies (old, new, foreign, American) including The Go Between, Blow-up, Women in Love, The Decameron, The Fallen Idol, The Loneliness of the Long-Distance Runner, Beauty and the Beast, Macbeth, The Innocents, and Miss Julie. Students will write short (1 page) essays on most of the films, a longer essay on a single film, and will have the opportunity to write an original filmscript. There are no prerequisites, no exams, and no incompletes. Text: Made Into Movies: From Literature to Film, by Stuart McDougal. (McDougal)
412. Major Directors. (3). (HU). May be
repeated for credit with department permission.
Masters of the Grotesque: Visconti, Herzog and Richardson. We will make a careful analytical study of major films spanning the careers of Luchino Visconti, Werner Herzog and Tony Richardson. Our focus will be on the cinematic "languages" and the dramatic themes of these directors, the relationship between what they say and how they say it, their styles, their content, and their contexts. A definition and description of "the grotesque" should also emerge from the course. I will post the exact schedule of 14 films outside my office (2627 Haven Hall) before the end of the Fall Term. There will be one film per week, two lecture classes, and mandatory small discussion groups, scheduled at your convenience. English 412 may be repeated if content is different from a previous election; there are no prerequisites. Nevertheless, the course is not "An Introduction to the Movies." Previous work in film theory, history, mechanics, and aesthetics couldn't hurt. Should film study be new to you, I will be happy to recommend preparatory reading. The course will pay attention to meat and potatoes as well as to sauce and soufflé (and, while we're at it, to nuts and bolts; it isn't all culinary). An obligatory lab fee covers the cost of seeing films. Some reading (Giannetti's Understanding Movies); three two-page papers; one five-page paper; one ten-page paper; no exams; no "Incompletes." Illiterates will find no place to hide. Anyone who uses "media" with a singular verb flunks. (Bauland)
416/Hist. 487. Women in Victorian England. (4). (HU).
See History 487. (Vicinus)
417. Senior Seminar. Senior concentrator in English. (3). (Excl).
NOTE: ENGLISH 417 MAY ONLY BE ELECTED BY SENIOR ENGLISH CONCENTRATORS.
English 417 along with the Core sequence fulfills the Junior-Senior
writing requirements for English concentrators only.
You must add the ECB modification for 417 at
Section 001 – Beckett's Fiction. The course will be a systematic examination of Beckett's experimental work as a writer of prose. Although we will pay some attention to his work in drama, our primary focus will be on his work in fiction. Students will read Beckett's novels with an eye toward his most recent work in this medium. We'll be focused on works like All Strange Away, Ill Seen, Ill Said, and Worstward Ho. These are Beckett's short works in experimental fiction and they will be the particular subjects of our inquiry. Students can count on writing three short papers for this course. There will be no final examination. This course will be conducted as a seminar; active participation of class members is not only encouraged, but required. Students will lead weekly discussions and prepare material for individual class meetings, guided by the instructor. Open to a limited number of graduate and undergraduate students. (Brater)
Section 002 – Renaissance Literature and Society. This seminar will study various works of Renaissance literature in relation to their social and historical context. We will attempt to view literature as a social performance, both shaped by and shaping its culture. We will read lyrics by Wyatt, Donne, Herbert, Jonson, and others, several Shakespeare plays, parts of Spenser's Faerie Queene, and all of Milton's Paradise Lost, as manifestations of or responses to particular Renaissance social issues. Requirements are two papers (one short and one long), and a short oral presentation related to one of the papers. (Schoenfeldt)
Section 003 – Donne and Browning: The Dramatic Monologue. What special talents does it take to bring about a productive fusion of the drama and lyric poetry? We will take Donne and Browning as major exemplars of this genre and read both in depth to see how Donne opened a territory that Browning would colonize with a whole gallery of memorable figures. Along the way we will look more briefly at the contributions of a number of other poets; e.g., Wyatt, Sidney, Drayton, Herbert, Suckling, Lovelace, Marvell, Pope, Burns, Hopkins, Housman, Kipling, Pound, and Eliot. The first part of the course will include brief oral reports and a short paper. Later each student will present orally a preliminary version of a longer paper to be handed in near the end of the term. (English)
Section 004 – Literature of the Holocaust. This seminar will study the theme of the Holocaust in prose and poetry. We will read translations of works written by Holocaust survivors and others in Hebrew, Yiddish, French, German, and Polish as well as English, and examine some recent Holocaust literary criticism. We will consider the specific thematic and aesthetic problems posed by this topic, focusing on the encounter between the artistic imagination and historical experience. Requirements for this course include active classroom participation, an oral report, two short essays (3-5 pp.), one longer paper (10-12 pp.), and a take-home exam. (Norich)
Section 005 – Thirteen Ways of Looking at Macbeth. The course will consider a variety of critical approaches to a single major text. First we shall read Macbeth together carefully. Then each member of the seminar will present a report (later to be written up as a paper) on one of the approaches: Shakespeare's use of his source material, the play's relevance to the time it was written, Shakespeare's use of his acting company, treatment of the play by film directors, its relationship to Shakespeare's contiguous tragedies and to other Jacobean tragedy, the play in the light of tragic theory, the imagery of Macbeth, etc. Each member will later do a second report, either an account of the work of a particular critic or an independent critical study. Final seminar paper of 15-20 pages on what has been gained by considering the play from so many angles. (Creeth)
Section 006 – Film Theory and Criticism. A theory is a coherent and cohesive set of fundamental principles underlying the practical applications of an art or science, an abstract body of thought, meaningless without concrete reference to the specific. Criticism requires illuminating analysis; it is not to be mistaken for journalistic reviewing. In this seminar, we will familiarize ourselves with the major theories of serious film study, a young discipline but one which has already developed a substantial and varied body of significant work. We will analyze and discuss a common body of intensive readings in film theory; each participant will read further in the pursuit of quarry for personal projects. Our investigations will be related to films available for local viewing throughout the term. Students will be expected to read texts on film technique and history as well as on theory from Arnheim, Kracauer and Eisenstein, through Bazin and Balazs, to Mitry, Metz, Sarris and others. We will examine auteur and genre, formalist and realist criticism – in short, the range of significant thought on the motion picture as art. Each student will have an opportunity to lead discussion, present a short report and write a long critical essay. The size and true spirit of a seminar allows maximum participation in the exchange of ideas among people learning together and from each other. One word of warning: this seminar will be an inadvisable election for students who would come to it unfamiliar with cinematic art beyond being movie buffs; some prior experience in film study is strongly urged. (Bauland)
Section 008 – Madness in Literature. We will read a wide variety of poetry, prose, and drama, culminating in some of Shakespeare's great tragedies, including Hamlet and King Lear. Frequent writing mostly of shorter papers, and a final exam. (Howes)
Section 009 – English as a World Language. Literature, as everyone knows, is made out of language, but the kind of English available to and exploited by writers has a less obvious but extremely important impact on literary creativity. The language of Huckleberry Finn, for instance, is a significant part of the world that novel evokes for us, and a similarly central place is given to language variety in such contemporary works as the novel The Palm Wine Drinkard (from Nigeria) and the play A Tiger is Loose in our Community (from Singapore). This senior seminar will explore contemporary variety in English world-wide, both for its own sake and as it illuminates fiction, drama, and poetry. We will read a common set of books, referring regularly to English as a World Language (U-M Press, 1982); in usual seminar-style, each student will present for collective discussion her or his investigation within the scope of the course. (Bailey)
Section 010 – Robert Frost and Edwin Arlington Robinson. In this course we will study the poetry of Robert Frost and Edwin Arlington Robinson, spending about one quarter of our time on the latter and three quarters of our time on the former. You will need The Poetry of Robert Frost (Holt Rinehart and Winston) edited by Edward Connery Lathem, as well as Selected Poems of Edwin Arlington Robinson (Collier Macmillan) edited by Morton Zabel. Expect one or two hour tests, no final, three to five short papers (five pages). Whether or not there are in-class presentations depends on class size. We will focus on one poem a week, which you will memorize, and spread out from that to related poems of interest to you. At least one or two of your papers will be written for all members of the class. No lectures. Regular attendance required. (Clark)
423 The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU). May be repeated for credit.
This class will be an advanced workshop in the craft of fiction open to selected undergraduates and taught jointly with a graduate level class for MFA students. Students will be expected to produce approximately 40 pages over the course of the term either as short stories or as portions of a novel. There will be some required reading. For early registration, interested students should submit samples of their work to the Undergraduate Secretary, 7607 Haven Hall by December 2nd. Include your name, class year and the course number for which you are applying. A list of admitted students will be posted on December 9th and overrides will be available in 7607 Haven Hall. (Cheuse)
427. Playwriting. Permission of instructor. (3). (HU). May be repeated for credit.
The emphasis of this course is on the individual plays written by each student, and the concepts of playwriting, structure, action, character development, and dialogue, will be discussed and analyzed in relation to individual work. The course requires that each student complete two one-act plays, or one full-length play. Students will be required to hand in scenes, rough drafts, or rewrites every two weeks, and this work will be performed in class by a group of actors assigned to each session. In addition, each student will be required to make a weekly appointment to discuss their work-in-progress. Admission to the course is by interviews arranged prior to the class selection. Students with no previous playwriting experience should apply to English 227, but exceptions can be made if a student has taken other creative writing courses. (McIntyre)
430. The Rise of the Novel. (3). (HU).
We will trace the early development of the English novel, noting the factors that led to the emergence of this form in the eighteenth century and the ways in which these novels still speak to us today. Reading will include works drawn from this list of authors: Daniel Defoe, Jonathan Swift, Samuel Richardson, Henry Fielding, Tobias Smollett, Laurence Sterne, Fanny Burney, Mary Shelley, Charles Maturin, and Jane Austen. The class will be conducted by a combination of lecture and discussion. Students will be asked to keep a journal and there will be a final exam. (Howes)
433. The Modern Novel. (3). (HU).
The class will study some of the major novels written in England, America, and on the continent during the past 100 years. We shall begin with Dostoevsky's The Brothers Karamazov and try to understand the major breakthrough that the author made in fiction and the impact he was to have on future novels and modern thought. The class will then examine the nightmare world of Kafka's The Trial and the psychic eroticism of Lawrence's Women in Love. We shall spend a number of weeks on Joyce's Ulysses, trying to understand the full dimension of the work and its relations both to the history of the novel and twentieth century civilization. Camus' The Stranger will lead us to problems concerning existence and action, and Faulkner's Absalom, Absalom! will force us to confront our own American dilemma, while allowing us to make a final assessment of the variability and possibilities of the modern novel. The course will proceed as a series of discussions between students and the instructor, except when brief lectures are necessary to clarify difficult points. Students will write two eight-page papers and take a midterm and final examination. (Konigsberg)
434. The Contemporary Novel. (3). (HU).
The course will focus on a reading and discussion of mostly American 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 by such writers as Samuel Beckett, John Barth, Joseph Heller, John Hawkes, Saul Bellow, Norman Mailer, Thomas Pynchon, Kurt Vonnegut, and Jerzy Kosinski. Lectures and class discussions. One long or two short papers will be required. (Aldridge)
441. Contemporary Poetry. (3). (HU).
In this course we shall study, by means of lecture and discussion, some of the most subtle, profound, and moving poems written in English since the second world war. Contemporary poetry has sometimes been criticized for being subjective or narcissistic in content and obscure or self-indulgent in technique. A closer look at masterpieces, however, should reveal a continuing attempt, in Samuel Johnson's words, "to regulate the imagination by reality," and to speak directly and freshly about experience. We shall read, among others, Elizabeth Bishop, Robert Bly, Gwendolyn Brooks, Allen Ginsberg, Donald Hall, Robert Hayden, Seamus Heaney, Randall Jarrell, Galway Kinnell, Carolyn Kizer, Maxine Kumin, Denise Levertov, Philip Levine, Robert Lowell, Sylvia Plath, Adrienne Rich, and Theodore Roethke. In addition, Richard Tillinghast and Alice Fulton will visit the class to join in discussion of their recent books. One short paper and one long paper are required, as well as a take-home midterm and a final examination. (Goldstein)
444/Theatre 422. History of Theatre: II. (4). (HU).
This course deals with the development of the Theatre of the Western World as an art form from 1700 to the present. Topics include theatre structures, production, acting, drama, theory, criticism, and social history relevant to the art. The preceding course, English 443 (Theatre 421), serves as a useful basis for understanding this development of the past three centuries, but is not a required prerequisite. The course is primarily lecture oriented, but has time for questions and discussion. It is designed for juniors, seniors, and graduate students; lower level undergraduates who feel prepared for this level are welcome. There are three one-hour examinations, a comprehensive examination, and a term paper. (Bender)
448. Contemporary Drama. (3). (HU).
A course surveying major dramatists and plays from the second World War to the present. English 448 generally restricts itself to British and Continental drama, but since English 449 (American Drama) is not being offered this year, we will include several of the most important contemporary American dramatists. Through our readings we will explore the vibrant proliferation of dramatic forms and styles as the dramatists of the last 40 years seek to reconceive the stage and what it can do. Topics will include: departures from realism, dramatic conceptions of the self, absurdism in subject and form, responses to film and television, the theatre of ideas, modern "tragicomedy," strategies for confronting the audience, critiques of language, uses of stage imagery and stage space. We will focus on the following dramatists: Williams, Miller, late Brecht, Durrenmatt, Artaud, Genet, Ionesco, Beckett, Pinter, Stoppard, Shepard, and Handke. Requirements: regular attendance and participation, reading journal, one paper (7-10 pp.), midterm and final exam. (Garner)
455. Medieval English Literature. (3).
Section 001. "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 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. Texts: Beowulf, Kennedy trans., Oxford Univ. Press; Middle English Verse Romances, Donald Sands ed., Holt, Rinehart, Winston; Pearl and Gawain and the Green Knight, A.C. Cawley, ed., Everyman's Library; Piers the Ploughman, Goodridge, trans., Penguin; Everyman and Medieval Miracle Plays, A.C. Cawley, ed., Dutton; Malory: The Morte D'Arthur, D.S. Brewer, York Medieval Texts, Northwestern Univ. Press. (Garbaty)
Section 002. This course will cover almost all of the "minor" poems, but not all of them will get the same consideration. In order to linger over the Troilus, we shall have to hasten through some of the other narrative works. As a rule, the lovelier and/or more complex the poem, the more thorough our reading. Class discussion will attend to Chaucer's specific poetic qualities as much as to interpretation. Students will be expected to become very familiar with what they read - a familiarity which I shall encourage by requiring identification quizzes as well as short memorizations. Twenty pages of writing will be assigned, and there will be a final exam. Everyone should already have done some reading in Middle English; a course in the Canterbury Tales would be useful background, but is not a prerequisite. Needless to say, students' proficiency in Middle English will vary: those who need and want extra help can have it, and from time to time we shall all translate and read aloud. Facility in Middle English must be acquired, by whatever means, early on, for it is of course essential to our appreciation of Chaucer's excellence. (Smith)
459. English Neoclassical Literature. (3). (HU).
This course in later eighteenth century English literature will be centered on the most eminent writer of the age, Samuel Johnson, and his friends. He was preeminent in 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 wit. Our approach will be primarily but by no means exclusively biographical, using Boswell's Life of Johnson as a handbook 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 and work were powerfully affected by Johnson. This course offers students an opportunity to study a few authors in depth, to live familiarly in 18th century London, to examine genres (biography, travel literature, periodical journalism, legicography, history) often neglected in literature courses, 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, Burney; the Status of Women Writers, Burney, Thrale, More, etc.. There will be a final examination, one common paper, and special projects tailored to the interests of individual members of the class. (Cloyd)
469. Milton. (3). (HU).
We will approach Milton as one of the truly major poets who wrote in English and also as a crusader for reformation in the church and the leading apologist for the Puritan government led by Oliver Cromwell. Readings for the course will include all the poetry and selected prose. We will consider how Milton assimilated and transformed literary genres (the court masque, the pastoral elegy, the sonnet, the epic) and how his engagement with the dominant issues of his day, particularly those having to do with religious truth and political power, shaped his poetry. We will try to understand Milton in the context of his times, in other words, giving our primary attention to the achievement of the poetry. Assignments will include a report on outside reading, a short and a longer paper, and a final examination. Texts: Merrit Hughes, ed., John Milton: Complete Poems and Major Prose (Odyssey) and Christopher Hill, The Century of Revolution, 1603-1714 (Norton). (Knott)
473. Topics in American Literature. (3).
Three Modern Poets: Pound, Eliot, and Stevens. The course examines what three major writers – Ezra Pound, T.S. Eliot, and Wallace Stevens – have to teach us about the kinds of relations possible among art, society, and the individual experience. We will consider their chief works both in themselves and as responses to personal, political, and literary problems. The readings are primarily poetry, with some critical prose by the authors themselves. We proceed by a mixture of lecture and discussion. There are two papers (about six pages each) and a final examination. English 240 would be a helpful but not essential background. (Bornstein)
482. Studies in Individual Authors. (3).
(HU). May be repeated for credit with department permission.
Section 001 – 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 Penquin 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)
483. Great Works of Literature. (1). (HU).
May be repeated for credit with department permission.
Section 001 – Hall, Kinnell, Berry, and Heaney. On Friday, 24 January, four distinguished poets will give a major reading in Rackham Auditorium, from eight to eleven in the evening. Donald Hall, Galway Kinnell, Wendell Berry, and Seamus Heaney will all read on the same program. In anticipation of their reading – to prepare us as an audience – I will conduct a short course devoted to their work. The class will meet on Tuesdays and Thursdays, from 9 January through 23 January, from 2:00 to 4: 30. At the first class meeting we will discuss Donald Hall's poetry, focusing on his most recent book, Kicking the Leaves. Reading assignments for the following class sessions will be taken from Galway Kinnell's Selected Poems, Wendell Berry's Clearing and The Country of Marriage, and Seamus Heaney's Poems 1965-1975 and Station Island. "Scribbles" will be required at the end of each class session, and a 5-10 page paper on one of the four poets, due on 14 February. (Hornback)
495. Honors Survey: The Twentieth Century. Admission to the English Honors Program. (3). (Excl).
This course is required for and restricted to seniors in the English Department's Honors Program. Covering English literature in the 20th Century, the course concentrates on the poetry of Yeats, Eliot, and Auden, the fiction of James, Conrad, Ford, Woolf, Lawrence, and Joyce, and selections from drama and critical prose. The method of teaching involves both discussion and the interruptible lecture. A midterm examination and, probably, two papers. (Gindin)
496. Honors Survey: Thesis and Comprehensive Examination. Admission to the English Honors Program. (3). (Excl).
This course is restricted to students in the English Department's Honors Program and Alternate Honors program. English 496 is used for the combination of thesis and comprehensive exam in Honors and for the thesis in Alternate Honors. (Gindin)
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