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 at the University of Michigan. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers exemplifying the various modes of discourse which comprise our academic community.
Individual course descriptions will be available for reference in 444 Mason Hall after November 10.
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 primary aim of the course is to improve students' skills in reading and writing. Students will read The Merchant of Venice, Henry IV, Part I, Hamlet, Macbeth and The Tempest, using them as the basis for weekly writing assignments. Some class time every week will be devoted to the discussion of student writing. (Schoenfeldt)
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 transfer students only. Students must take the ECB Writing Assessment before registering for this course. (2). (Introductory Composition). May be repeated for a total of four credits.
Intensive Composition is a course designed especially to meet the needs of entering 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 7 to March 13). English 220 is offered only during the first half of each term, and students must be enrolled before the 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 University.
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 two of the following three genres: fiction (including personal narrative), drama, and 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 may be required.
All sections of English 223 will have course descriptions available for reference in 444 Mason Hall after November 10.
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. Classes are usually 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 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 10.
Section 010, 015, and 025: 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.
227. Introductory Playwriting. (3). (Excl).
Students will learn the fundamentals of playwriting and play analysis. Focus is given to development of dialogue, characterization, and plot. Several writing exercises will be assigned, designed to acquaint the students with structure and style. Students will also write several short scenes and two one-act plays. Those interested in enrolling should add their name to the waitlist at CRISP and also sign up for interviews with the instructor, using the list that will be posted outside of 2635 Haven Hall on December 5. Interviews will take place December 8 through December 12. (Hackel)
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 10.
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. This course will help students develop an ability to read and write about poetry with understanding, sophistication, and enjoyment. To this end, students will learn the terms used to describe the basic structural elements of poetry (metaphor, simile, synecdoche, etc.); you will learn how to scan verse; and we will discuss the various poetic genres that have developed through the centuries. After learning the rudiments, the class might consider some of the historical, economical and critical factors that have influenced the formation of the canon. We will read a wide variety of poetry, from Chaucer to contemporary poets. The work of women will be especially well-represented in the reading choices for this course. Several books are required (Western Wind by John Frederick Nims); one of the Norton anthologies; and other volumes yet to be chosen. There will be frequent quizzes on the reading. In addition, students must complete three short papers, as well as attend and review several poetry readings. As a final project, I will ask you to apply the critical skills you've developed by reviewing a book of contemporary poetry. Evaluation will be based upon the above tasks and assignments, and upon the student's participation in class (both the quantity and quality). (Fulton)
Section 002. The aim of this course is to deepen the rewards of reading poetry by understanding its nature and how it achieves its effects. Much of our work in this term will therefore be devoted to cultivating a common critical vocabulary which will enable us to respond intelligently to as many different forms of poetry as possible. The emphasis shall be upon close readings of various British and American writers, with the last few weeks reserved for a study of the works of Robert Frost. To encourage an appreciation of the oral nature of poetry, some memorization and recitals will be required, together with a series of short papers and a final exam. Primary text: Norton Anthology. (Larson)
Section 004. The subject of this course is the beauty of poetry - how to perceive it, how to take joy and understanding from it. We will read together poems written mostly in this century, poems I have chosen because they please me and because I think they will please you. You will write briefly to open each class meeting, to prepare for each day's discussion. Those of us who write poetry and would like to share it with the class, will do so several times during the term. We will also have readings and discussions in some of our classes by working poets in the University. In addition to daily writing, this class requires a midterm paper and a final paper. It has no examinations. (Fader)
Sections 005 and 006. 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; quizzes on text; a reading journal; and a final project. (Dunning)
Section 007. The main assumption: that close analytical attention to parts of poems is indispensable, not inimical, to one's appreciation of whole poems and genres of poetry. The work: reading and re-reading of poems assigned daily; many short over-night written exercises; some impromptu pieces; in-class explication, reading (aloud), and discussion of assigned poems; participation in at least one small-group project; recitation – during the final weeks of the term – of at least 50 memorized lines of poetry in the course anthology. (The usefulness and the nature of midterm and final exams will be discussed early in the term.) (Van't Hul)
Section 008. In this course we read and study poems rather carefully so that we can read poetry with more enjoyment and knowledge. This activity is prerequisite to concentrating in English. The course can also be a good one for students not intending an English concentration but who want to know more about poetry. We go by as much reading of poems in class and as much discussion as we can. We invite familiarity with the main manifestations of English and American verse through the reading of a large number of poems written over the centuries as well as through the close reading of a selected few. That way we can hope to get some sense of the range of lyric poetry as well as some skill at seeing how different kinds of poems are put together and how they work; and this not for its own sake but so that we can know more clearly, enjoy more deeply. Toward the close of the course we will study the work of one major poet – perhaps Yeats or Frost or Dickinson. There will be a number of written exercises, two relatively short papers, one hour exam and a final exam. (McNamara)
Section 009. The aim of this course is learning how to understand, enjoy, and evaluate poetry. We will read widely in English and American poetry, from the Renaissance to the present. Class discussion will focus on such topics as: the formation of the poetic self, the ethical implications of style and form, the evolution of poetic genres, and the role of figurative language in poetry. We will cultivate, in particular, the historical imagination that is necessary for an appreciation of great poetic works from various periods in English literature. In this way, we can begin to understand and value the continued ability of these works not only to nourish the mind, but also to test it. Requirements: active class participation, four papers of increasing length and complexity, and a diagnostic midterm examination. (Gasbarra)
Section 010. In this section of Introduction to Poetry we shall concentrate on the dominant modes and forms of verse, such as the couplet, quatrain, ballad, sonnet, ode, and elegy, and then examine the free verse tradition as a special unit. With each poem we shall discuss technical matters such as imagery, figurative language, diction, and rhythm, and how all techniques contribute to the total shaping of a successful poem. The objective of the course is to familiarize students sufficiently with poetic conventions so that they can read widely in all poetries with understanding and pleasure. Required texts are Nims (ed.), The Harper Anthology of Poetry, and Fussell, Poetic Meter and Poetic Form. There will be regular short writing assignments and a final long paper, as well as a midterm and a final examination. (Goldstein)
Section 011. This course is a prerequisite for English concentrators, but all students who love (or are merely interested in) reading poetry are welcome. Using the Norton Anthology of Poetry and supplemental hand-outs, we will be reading a wide variety of poems written in English (with some attention to translations) from different periods and in a number of styles. The class will culminate in a study of one or two volumes by contemporary poets. Through close readings, we will discover the ways that both emotional and intellectual meaning is produced for us as readers through the formal techniques of poetry. Despite occasional lectures, this course is designed primarily as a discussion seminar in which we read poems aloud to develop strategies for analyzing them. Course requirements will include frequent short writing assignments, such as experiments with writing poems in a variety of forms, three short papers, a review of one local poetry reading and a final exam. Attendance at, and participation in, class discussions is crucial. (Rabinowitz)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
What have 'theatre' and 'drama' meant at different times in history, what do they mean now, and what else could they mean? What impulses and skills have gone and go into the creation of theatrical events, and what needs do they attempt to fulfill? What's meant by 'performance', 'stage', 'audience', 'director', 'tragedy', 'comedy' and a dozen other terms we tend to use rather casually? In attempting to answer such questions we will be examining certain key scripts in their theatrical and social contexts. The relevant playwrights are likely to include Sophocles, Shakespeare, Molière, Ibsen, Chekhov, Brecht and Beckett. Students will also be introduced, through Project Theatre's production of 'Waiting for Godot', to the making of a theatrical event from conception to performance; those involved with this and other on-campus plays are expected to visit the class. Grades will be awarded on the basis of participation in class discussions and projects, written papers, and exams. (Nightingale)
270. Introduction to American Literature. (3). (HU).
Section 001 – Tradition and Innovation. This course covers about a century and a quarter (1850-1973) and includes a variety of works representative in various ways: six works of fiction (Hawthorne's The Scarlet Letter, Twain's The Adventures of Tom Sawyer, Wharton's Ethan Frome, Anderson's Winesburg, Ohio, Hemingway's In our Time, Wilder's Theophilus North) – the first two established classics, the third a major work by an outstanding American woman, the next three stellar examples of innovation in narrative technique; a sampling of the poetry of Robert Frost, perhaps the most distinctly American of our poets; a play by each of two of our best and most innovative playwrights (O'Neill's Mourning Becomes Electra and Miller's Death of a Salesman). Students may have already "studied" some of these; perhaps we can give the works a new and different reading now. We will try to decide what makes these representatively American and what makes them simply good literature. There will be introductory lectures, but the course will depend on vigorous class discussion. Several written exercises of various scope will be required; there may be a final examination. (Powers)
Section 002. We will explore in this section American literature that has been produced since the mid-nineteenth century. One of the primary questions we will be asking of all of the texts we read will be the degree to which such considerations as class, race and gender ultimately influence individuals' perspectives about such fundamental American ideals as freedom, equal opportunity and democracy. The reading list will include novels (Huckleberry Finn, Song of Solomon), autobiography (Black Boy), drama A Long Day's Journey into Night) and short fiction. Written work will include short essays, one longer essay and a midterm examination. (Awkward)
Section 003. This course will treat works of ten major American authors - mostly writers of fiction, but two poets as well: Emily Dickinson and Robert Frost. Other works include short fiction of Hawthorne and Melville, Twain's A Connecticut Yankee, James' Portrait of a Lady, Wharton's Age of Innocence, Fitzgerald's Go Down, Moses. In addition to close reading of individual works, we will consider some of the significant cultural themes that run through American literature. Several short papers will be assigned, and there will be a midterm and a final exam. The class format will combine lecture and discussion. (Beauchamp)
285. Introduction to Twentieth-Century Literature. (3). (HU).
We will study about eight works from the twentieth century, beginning with key modernist texts like T.S. Eliot's The Wasteland, James Joyce's The Dubliners, and poems by W.B. Yeats. Then we'll move to American writers of the 1920s such as Ernest Hemingway (In Our Time), William Faulkner (As I Lay Dying) and Willa Cather (The Professor's House), and conclude with Robert Coover's Pricksongs and Descants, Toni Morrison's Song of Solomon, and perhaps Samuel Beckett's Waiting for Godot. Our focus will be on understanding these texts and their relationships to their cultural context rather than seeking to provide a survey of the whole twentieth century, though we will cover the most important intellectual movements of our time. The class will proceed by part lecture, spontaneous questions, and part discussion, a mixture that's worked well in the past. Requirements: two 4-6 page papers, one or two very brief papers, and a final exam. (Strychacz)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (HU).
This course is open only to juniors and seniors who are fulfilling the Junior-Senior writing requirement. The ECB modification must be added at the time of registration. The goals of this course are a) to engage students in books that are enjoyable and instructive and b) to help them learn to write more effectively and with increased pleasure. The books come from a number of different cultural traditions and most are from the twentieth century. The papers will deal with the books' meaning to the student; there is considerable flexibility in the choice of topics. A book and paper will be required about every two weeks. There will be a midterm and final exam. About one-third of the lectures will deal with effective writing. The remainder will explore the meaning of the books. Students will work in pairs to prepare papers for submission. For part of the term students will participate in writing workshops without an instructor. These co-worker and workshop requirements are potentially the most productive parts of the course, but their success depends upon a special kind of commitment and self-discipline. Both word processing and regular participation in a computer-based course conference are required. For students who do not know the CONFER system on MTS, there will be mandatory training at the beginning of the term. The computer conference is an important tool for increasing communication among participants in a large-enrollment class. An extensive course manual is available at the Shaman Drum Bookshop and is required reading during the first week of the term. (Meisler)
309. American English. (3). (HU).
The history and present diversity of English in the Americas – the United States, Canada, and the Caribbean – reveals the great variety of cultural influences that shape our language. Designed for students with no prior study of the English language, English 309 will explore all three regions of North America with particular attention to the United States – especially its regional, social and gender-based dialects (including Black and Hispanic English). In addition to a midterm and final, students will write two short papers and one longer report on a research topic (which may derive from field work studies). In addition to a course pack, our textbook will be Dialect and Language Variation, ed. Allen and Linn. (Bailey)
314. Topics in Literature Before 1800. (3). (HU). May be repeated
for a total of 6 credits with department permission.
Section 001 – Studies in Seventeenth Century Lyric. A reading of poems by Donne, Herbert, Vaughan, Crashaw, Jonson, 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 class participation, one paper, a midterm, and a final. (Gasbarra)
Section 002 – Medieval English Romances. The romance was a French invention of the twelfth century. Fusing stories of adventure and of that kind of love we now call romantic, it quickly became popular all over Europe, representing and analyzing a new kind of ideal life. The greatest English examples of the type were written some two hundred years later and are, variously ironic, variations on romance themes. In this course our primary focus will be on three of these works: Sir Gawain and the Green Knight, Malory's Morte D'Arthur, and Chaucer's Troilus and Criseyde. We will also read a number of works such as the Lancelot of Chrétien de Troyes and some Arthurian texts both as independent works and as context for the English romances. This will be a discussion course. There will be a final exam, at least one paper and at least one hour exam. The course will satisfy the pre-1800 requirement for the English concentration. (Lenaghan)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
A study of important writers, beginning with Kate Chopin (The Awakening) and Zora Neale Hurston (Their Eyes Were Watching God), and proceeding through the century with Marianne More (The Complete Poems of Marianne Moore), Elizabeth Bishop (The Complete Poems), Gwendolyn Brooks (Selected Poems), Flannery O'Connor, Grace Paley (Enormous Changes at the Last Minute), Adrienne Rich (The Dream of a Common Language), and Toni Morrison (Sula). We will examine each author's work on its own terms and as a work of American literature, but also in terms of what we know of the author's life and her choices to write as she does. Discussion will pivot around the question of whether there can be said to be a women's tradition in American literature and what the characteristics of this tradition might be. A few essays on this subject will be made available to students and one may be required reading. If class size allows, class sessions will consist of more discussion than lecture. (Miller)
317. Literature and Culture. (3). (HU). May be repeated for credit
with department permission.
Section 001 – 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 002 – The Boundaries of Sense: Meaning, Madness and Sexuality. This course will follow the lines of what used to be called "existentialism in literature," but with a twist. We will be primarily concerned in examining how various writers have taken the human need to see the world as an ordered and meaningful arena within which life can be led and have subjected that need to the threat of disorder and fragmentation. Especially central will be an examination of how the potential collapse of meaning has led certain writers to a study of madness in their characters and how the threat of irrationality is accompanied by the emergence of certain forms of human sexuality that would otherwise be repressed. Readings will range from classical Greek and Shakespearean tragedy, Swift, and Melville, though the bulk of our reading will be taken from twentieth century authors such as Kafka, Mann, Faulkner, Beckett, and Jean Genet. (Fischer)
318. Literary Types. (3). (HU). May be repeated for credit with
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 John Varley, Millennium, Berkley (1983) (Rabkin)
319. Literature and Social Change. (3). (HU). May be repeated
for credit with department permission.
Literature of Oppressed Minorities: Black, Chicano, Native American Indian, Puerto Rican, Asian American. This course will concentrate primarily on 20th century literature expressing the unique cultures and life experiences of a number of oppressed racial minorities in the U.S. While there are some features common to all minority groups that suffer discrimination within our larger culture, the diversity of responses through literary forms will also be emphasized. In considering the literature of each minority, we will attempt to include writers who hold different points of view and employ different literary techniques. There is an implicit interdisciplinary thrust to this course, and history, sociology, and political theory will be especially important in uniting with literary criticism as useful analytical tools. Requirements include two papers, two exams, and participation in a group presentation. The reading will probably include many of the following: Frederick Douglass, Narrative of the Life; Jean Toomer, Cane; Richard Wright, Black Boy; Maya Angelou, I Know Why the Caged Bird Sings; Maxine Hong Kingston, Woman Warrior; Jose Antonio Villareal, Pocho; James Welch, Winter in the Blood; John Neihardt, Black Elk Speaks; Pedro Pietri, Puerto Rican Obituary; Sandra Cisneros, The House on Mango Street; Louise Erdich, Love Medicine; Howard Zinn, A People's History of the United States. There will be both lectures and discussion. (Wald)
323. Creative Writing. Junior standing and written permission
of instructor. (3). (HU). May be repeated for credit.
Section 001 – Poetry. A workshop in the writing of poetry: classes involve students sharing their work with each other, giving and receiving constructive criticism. In addition to student poems, we shall discuss poems by established authors, dead and living, with emphasis on the living. For this, a poetry anthology will serve as required text, supplemented by excursions into (and oral reports on) the work of individually selected poets' work. All students will be expected to acquire soon on a critical vocabulary such as will enable intelligent and sensitive analysis. Submission of new writing will be required weekly, as will revision. Writers prone to writing blocks, periods of low energy, ennui, arrogant individualism, or pervasive feelings of vulnerability ought to think twice about taking this course. I shall be available this term to meet with anyone wishing to discuss the course. Final grades will reflect the quality and quantity of finished poetry, weekly completion of various exercises, and constructive participation. Students interested in enrolling should leave three to five poems in the Undergraduate Office of the English Department no later than December 10. A class list will be available there by January 8. Students wanting to enroll at the last minute are welcome to submit manuscripts on the first day of class if and only if spaces remain. (Smith)
Section 002 – Intermediate Fiction. This is an intermediate fiction workshop for students who have some writing experience. You will be expected to write a minimum of 50 pages of fiction, attend class, read and critique others' writing, develop a reading list for yourself, and attend readings by visiting writers. No exams or books, but you will incur some copying costs. Evaluation will take into account your meeting the above expectations. For admission, get on the waitlist at CRISP, and come to the first class with a sample of your fiction. Admission and overrides are available only during the first week of the Winter Term. (Holinger)
Section 003 – Intermediate Fiction. This is a writing workshop designed for graduates of English 223 or those writers who are able to compose interesting, ambitious short stories without the benefit of a beginner's workshop. Students will be required to attend class faithfully, to support the University's Visiting Writers Series, to read a handful of selected stories, and to produce 50 pages of typed, double-spaced, reasonably-polished original fiction. The instructor is an experienced short story writer, and as such, she will focus almost exclusively on the craft of story (as opposed to novel) writing. Interested students should realize that while the required reading for this course is light, the amount of time and energy necessary to produce 50 lively, carefully-revised pages of fiction is prodigious. Enrollment for this course is limited. Thus, admission to the workshop will be determined by the quality of manuscripts (no more than ten pages) submitted to the instructor at the first scheduled class meeting. Each applicant should come to that meeting with a fiction manuscript in hand. If the applicant doesn't have a suitable story to submit, he or she may submit some poetry or an essay. N.B.: Until the first class meeting, English 323 will be listed as closed with CRISP, but students should place their names on the waitlist during registration. (Hagy)
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 are covered in English 125 and 225.
All sections of English 325 will have course descriptions available for reference in 444 Mason Hall after November 10.
329. Practical English. (3). (Excl).
In a workshop, students will cultivate written and spoken forms that have wide practical use in groups: letters, memos, reports, essays, prospectuses, speeches, public drafts, working papers, and more. Much of the work will be collaborative. Although students will compose and revise individually, they will often create specific assignments, edit, and evaluate in groups. This workshop thus reproduces a crucial feature of social and professional life: acts of writing and speaking typically occur in continuing chains of composition, evaluation, and revision leading to collective results - ideas, documents, plans of action. Clearly, success in this course requires everyone's commitment to group effort. Students will be expected to focus considerable time and energy on writing, editing, reading, and working together. Appropriate readings to be chosen by the workshop. No exams. Individual grades will be based on a minimum of two speeches, a minimum of twenty-five pages of finished prose, and class participation. Meets ECB junior-senior writing requirement. (Rabkin and Smith)
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 concentrators. Texts: Chaucer, Canterbury Tales, Cawley, ed. (Dutton, Everyman); Sir Gawain, Borroff, trans. (Norton); Shakespeare sonnets complete in any edition of Barber, ed. (Laurel Shakespeare, Dell); Donne, Smith, ed. (Penguin); 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: The Canterbury Tales (selections); Sir Gawain and the Greene Knight; Everyman; The Second Shepherd's Play; selections from Wyatt, Sidney, and Spenser; The Faerie Queene; Antony and Cleopatra; Volpone; selections from Jonson, Shakespeare, Donne, Herbert, Marvell, and Milton; and Paradise Lost (selections). Requirements: active class participation, one paper, a midterm, and a final. (Gasbarra)
Section 003. This course will consider English literature from the late Middle Ages through the Renaissance. We shall study major works in poetry and drama. Reading will include Chaucer's Canterbury Tales (selections in Middle English), Sir Gawain and the Green Knight, two medieval and two Renaissance plays, poetry by Spenser, Donne, Jonson, and selections from Milton's epic Paradise Lost. Mainly discussion with short lectures. A special feature will be Thursday quizzes in place of hourly exams, and the average of these will establish a floor grade in the course. Two short papers. Texts: first volume of the Norton Anthology of English Literature. (Creeth)
Section 004. The first of a three-course sequence (required of concentrators but open to non-concentrators) offering intensive study of the masterworks in the canon, Core I concentrates on the literature of the Middle Ages and the Renaissance. We will read Chaucer's Canterbury Tales (selections), Sir Gawain and the Green Knight, some medieval plays, Marlowe's Doctor Faustus, a selection of Renaissance poetry (Shakespeare, Donne, Marvell, et al), Jonson's Volpone, and Milton's Paradise Lost. I will conduct the class as part informal lecture (particularly when we deal with the context of these works) and part discussion (mostly when we focus on the texts themselves). The quantity of discussion may be dependent on the size of the class, but the quality will depend on the vitality of the bodies in it. Three papers, one in-class essay at midterm, and a final examination. (Bauland)
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, the first in the required sequence of core courses for English concentrators, is an introduction to some of the great literature written in English through the time of Milton. Our texts will be Beowulf, Chaucer's Canterbury Tales, Sir Gawain and the Green Knight, Spenser's Faerie Queene (Books I and II), and Milton's Paradise Lost. After a few days with Beowulf, we will spend most of the rest of the term reading and discussing the other works for pleasure and understanding. I will occasionally supplement our reading with lectures on historical and critical background, illustrated with slides and recordings. There will be frequent short writings, two or three papers, a midterm examination and a final. I expect regular and active participation in class meetings from students in this course. (Cloyd)
356. Core II (Great English and American Books). (4). (HU).
Sections 001 and 003. An introduction to some of the major works, authors, and issues of British and North American literature, from the Restoration (1660) to the Romantic period (the earlier 19th century). The course will introduce you to some unfamiliar genres and attitudes (satire, Pindaric ode, neo-Classical imitation), and help you to read familiar genres (such as the novel and the lyric poem) more closely, with a sense of their place in literary and social history. The basic text for this course is The Norton Anthology of English Literature, Volumes I and II, fifth edition (if you have the fourth edition you will be missing some of the material, and will have to arrange to Xerox it). From this anthology we will read selections from Dryden, Bunyan, Congreve, Rochester, Astell, Finch, Wortley Montagu, Swift, Pope, Thomson, Gray, Collins, Johnson, Goldsmith, Crabbe, Blake, Wollstonecraft, Wordsworth, Coleridge, Byron, Keats, P.B. Shelley and Mary Shelley; some of these authors will be represented by a single poem or essay, but some will be studied in depth. You will also need separate editions of Sterne's Sentimental Journey, Austen's Sense and Sensibility, Thoreau's Walden and Whitman's Leaves of Grass. I will sometimes give lectures, but more often I will lead discussions on prepared questions; you are required to attend all classes, and encouraged to take part in these discussions as fully as possible. There will be two papers and a final examination, each counting as one-third of the grade. Occasionally I will give you brief quizzes and writing exercises, to help you practice your skills of writing and literary analysis. (Turner)
Section 002. This section of Core II studies poetics and philosophic works and related literary cultural arts in Britain in the 18th and early 19th centuries. Principal authors to be studied are Dryden/Pope; Locke/Berkeley/Hume; Swift/Johnson; Blake/Reynolds; Wordsworth/Coleridge; Wollstonecraft/Wordsworth; Shelley/Keats; and Shelley/Austen. Written work includes in-class essays and longer papers. (Wright)
Section 004. This course surveys the major developments of English and American literature from 1660 to 1850. We will begin with plays by Behn and Congreve to get an overview of Restoration drama. We will examine ways in which eighteenth century writers sought to combine pleasure with instruction by reading Behn's Oroonoko, Swift's Gulliver's Travels, Pope's Rape of the Lock, and Johnson's Rasselas. The development of the English novel will be explored with Richardson's Pamela, Fielding's Shamela and Joseph Andrews, and Austen's Pride and Prejudice. From the social orientation of the eighteenth century we will turn to the introspective orientation of the Romantics with a focus on the lyric poetry of Coleridge, Wordsworth, Shelley, and Keats. Finally we will study Brontë's Wuthering Heights and Hawthorne's The Scarlet Letter. There will be two analytical papers, a short research paper, and a final exam. (Carlton)
Section 005. This course will look at some typical major British and American works and authors of the eighteenth and the first half of the nineteenth centuries in an attempt to arrive at some understanding of the differing sensibilities of different times and places. Authors read will be drawn from this list: Pope, Swift, Fielding, Smollett, Sterne, Austen, Mary Shelley, Blake, Keats, Hawthorne, Melville, Dickens, and Whitman. There will be a number of short papers of various kinds and a final exam. The usual method of instruction will be discussion rather than lecture. (Howes)
Section 006. This course surveys the major developments of English and American literature from 1700 to 1850. We will begin with an overview of the main currents of 18th century writings in the three predominant genres (poetry, prose, drama), with special attention to the uses of satire. Our major focus, however, will rest on the 19th century, particularly the development and continuing influence of Romanticism in both England and America. The major Romantic poets will be read closely (Wordsworth, Coleridge, Keats, Shelley) for both thematic content and as transitions from the social orientation of 18th century literature to the more anxiety-ridden subjective consciousness of the 19th century. Mary Shelley's Frankenstein will take us from poetry to prose, and we will spend the remainder of the term exploring developments in the novel, with particular attention to women writers (M. Shelley, the Brontës, George Eliot). Finally, we will shift our attention to the transformations of Romanticism in America, beginning with Emerson's extreme formulations and ending with Hawthorne's and Melville's profound distrusts of the principal movement of modern literature. (Fischer)
357. Core III (Great English and American Books). ( 4). (HU).
Sections 001 and 002. This is the third of three Core courses, a must for English concentrators, and a near-must for anyone else interested in reading, studying, and talking about the best literature of the last 100 years in England and America. We will study a number of key works from the Victorian era to the modern day, beginning with such poets as Robert Browning, Alfred Tennyson, and Lewis Carroll ("The Hunting of the Shark"), and in America with Twain's Huck Finn and Edith Wharton's The Age of Innocence. We'll follow with modernist writers such as T.S. Eliot (The Wasteland), Conrad (Heart of Darkness), Yeats, and Joyce (probably Dubliners). We'll move next to second-generation modernists such as Hemingway and Faulkner, and conclude by looking at Allen Ginsberg's Howl and perhaps Thomas Pynchon's The Crying of Lot 49. I encourage discussion – and these works are fascinating and eminently discussible. Requirements: two 5-7 page papers, perhaps one or two very brief papers, and a final exam. (Strychacz)
Section 003. The course surveys the fiction and poetry of leading British and American authors from the Victorian period to the present. Among the writers likely to be considered are Tennyson, Browning, Dickens, James, Wharton, Anderson, Frost, Auden, Faulkner, O'Connor, and Barth. Lecture and discussion. Written requirements consist of two short papers, a midterm, and a final exam. (Larson)
Section 004. This course will survey major developments in British and American literature from the mid-Victorian period to the present. Beginning with Charles Dickens, we will examine the emergence of the modern, noting how shifts in philosophical, socio/historical, and psychological perspectives shape a body of literature. Our texts will come from all genres, with an emphasis on fiction. Through a combination of lecture and discussion, we will study the issues and techniques through which artists expressed their perception of an increasingly uncertain world. Readings will include the works of James, Hardy, Wharton, Dickinson, Joyce, Faulkner, Woolf, Stoppard, and others. Three short papers, 6-8 pages, and a final exam. (Wolk)
Section 005. This course is primarily designed to complete a three-sequenced series of core classes for the English concentrator, following an historical progression. But, those students interested in a serious study of the literature written at the end of the nineteenth and continuing throughout the twentieth century are heartily welcomed. The theme of the course is "Toward the Void"; the literature read will reflect both the social issues of the times and the author's unique shaping of that material. The uneven patterns emerging will lead us to see that from a time of somewhat agreement of values both society and the individual will grow weary and skeptical; from optimism will arise a sense of darkness, of irony, of the "void" at the center of our worlds. We want to finish the term with a good idea of the concerns of the twentieth century as expressed in the literature. We will read closely, not only to see what an author says, but also how he says it; our discussions will often focus on the workings of the imaginative process. Moreover, if we begin this term finding ourselves reading rhythmically, somewhat slow, understated works, we will progressively end with the potentially explosive energy of Samuel Beckett's Rockaby; Harold Pinter's The Homecoming; Tom Stoppard's The Real Thing; John Fowle's The French Lieutenant's Woman; and John Irving's The World According to Garp. The format of the course will be discussion and more discussion; the focus will be on the interchange of ideas. There will be three short essays (6-8pp.) and a final exam required. The reading list will include selections from all genre: poetry, fiction, and drama. And, the authors we will critically read include selected works by: Robert Browning, Thomas Hardy, Joseph Conrad, Henry James, Virginia Woolf, E.M. Forster, William Faulkner, and, of course, the authors mentioned above. (Back)
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). (HU).
Section 001. The focus of this course will be on the interrelationships between Shakespeare the poet and Shakespeare the playwright. Particular emphasis will be placed on the special staging problems encountered in the Shakespeare repertory with an emphasis on how a text is translated into performance reality. In order to focus on how the plays can work in the theater, the course will make steady use of the Shakespeare videos in the collection at the undergraduate library. Lectures will take into account the many ways in which the contemporary theater attempts to accommodate itself to the dramatic conventions of another time and another place and how these conventions continue to resonate on the modern stage. Representative works will be selected from the tragedies, comedies, and histories. Assessment will be in the form of term papers (two) and a final exam. (Brater)
Section 002. A course exploring the range of Shakespeare's dramatic art through the study of individual plays. Combining close reading of dramatic texts with attention to performance, we will consider Shakespeare's plays from the following perspectives: theatrical and intellectual contexts, changing concepts of character and action, developments of dramatic language, problems and possibilities of staging, the shifting borders of tragedy and comedy, dramatic conceptions of history, sexuality and the family, the self and its myriad masks, interpretations on the modern stage. We will read A Midsummer Night's Dream, Richard II, Henry IV, The Merchant of Venice, As You Like It, Measure for Measure, Hamlet, Othello, King Lear, The Winter's Tale. Requirements include regular attendance, two papers, midterm and final examinations, brief critiques of three Shakespearean productions (film, video, or stage). Students interested in the broader arena of Elizabethan and Jacobean drama might also wish to consult the course description for English 445. (Garner)
393. Honors Survey: Eighteenth-Century English Literature. Admission to the English Honors Program. (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, Wycherley, Swift, Pope, Addison, Steele, 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)
394. Honors Survey: History of Literary Theory. Admission to the English Honors Program. (3). (Excl).
This will be a survey of critical theories of the nineteenth and twentieth centuries, with emphasis on theoretical developments since New Criticism. We will spend a considerable amount of time covering three contemporary theoretical camps: poststructuralist, Marxist/historical, and feminist. Attention will be given to the relation between theory and practical criticism, but we will also study literary theory as an independent field of inquiry. Three papers, final. (Kucich)
406/Ling. 406. Modern English Grammar. (3). (HU).
English 406 is an advanced survey of descriptive English grammar. The approach will be functional and theoretically ecletic. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (word formation, "parts of speech," phrases, clauses, sentences, "transformations," and discourse connection), and we will discuss how these structures contribute to the expressive potential of the system. You will have daily practice in grammatical parsing as well as four or five more open-ended problems in grammatical argumentation and application. There will be a final research paper on a topic of your choice and a final exam on the factual material. The course should be attractive to those professionally interested in English education, practical criticism, or further work in linguistic theory – as well as those generally interested in becoming more articulate about the structure of our language. Texts: Randolph Quirk and Sidney Greenbaum, A Concise Grammar of Contemporary English and John Algeo, Exercises in Contemporary English. (Cureton)
411. Art of the Film. (3). (HU). May be repeated for credit with
Section 001 – 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)
Section 002 – Latin America Cinema. We will study closely films from Argentina, Bolivia, Brazil, Chile, Columbia, Cuba, and Nicaragua. We will be concerned with the development of theory and practice, will attempt to understand the nature and function of art and artists in third world countries, and will discuss both the films themselves and the issues they raise. We will view both documentaries and fiction films, including The Guns, Hour of the Furnaces, Memories of Underdevelopment, Blood of the Condor, The Jackal of Nahueltoro, The Brick-Makers, Battle of Chile, and An Official Story. We will give some special attention to Chile and Nicaragua and may be able to see Miguel Littin's recent clandestine film on Chile and the first feature fiction film from Nicaragua, Women of the Frontier, by Ivan Arguello (completed October, 1986). The course will be a combination of lecture and discussion (both large group and small group), and the emphasis will be upon the latter. Students will keep journals on the films and will write a final paper or do a creative project. There will be no examinations. (Alexander)
417. Senior Seminar. Senior concentrator in English. (3). (Excl).
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 in the novel. The similarities and differences between the responses of the World War I and World War II generations will be examined in the work of Remarque, Dos Passos, Hemingway, Fitzgerald, Heller, Burns, Mailer, and Vonnegut as well as some of the poets. Lectures and discussion. Assigned papers will provide the basis for the study of such writing problems as structure, style, and revision. (Aldridge)
Section 002 – Madness in Literature. We will read a wide variety of poetry, prose, and drama, culminating in Hamlet and King Lear. Some of the readings will be about madmen, some by "mad" authors. We will attempt to see both how madness may affect the creative process and some of the ways it may be used as a literary theme. Frequent writing of papers of varying lengths, and a final exam. (Howes)
Section 003 – English and American Literature From Its Beginnings to c. 1750. The senior seminar is the capstone of the concentration sequence. Like any other capstone, however, it's of little use until the rest of the arch is in place. You will need to have your arches checked in order to get into this section; that is, you will need the instructor's permission to enroll, and you can reach him in 444 Mason (4-0419), 1615 Haven (3-5957), or at home (769-0250). Early contact is urged. The broad focus of this section will be English and American literature from its beginnings to about 1750; you will be asked to identify one important text from that extensive period on which you would like to work intensively during the term. It should be a text with which you are already familiar. Each seminar member will have one such text (or group of texts, if they're short, like lyric poems), and our group reading will consist of all those texts. Your role will be to educate the rest of us about your text and its contexts, and to join in the reading and discussion of the texts of the others. Once we understand each other's interests, we will begin to write for one another. Our aim is to produce really good essays about our texts; to that end, we will share our rough drafts with each other, and will exchange comments and guidance. At the end of the term, we will give copies of the final version of our paper to all the others in the group. (Ingram)
Section 004 – Literature and the Law. Literature's fascination with the law as an institution and justice as an ethical concept dates back at least to Periclean Athens and transcends generic and cultural boundaries. Modern fiction and drama seem irresistibly drawn to the law, particularly criminal law, as a theme. We will read works that treat the legal process as an object of analytical interest in and of itself, as an example of a procedurally complex but often substantially bankrupt society, as a metaphor for the literary process of truth-finding and truth-telling, and even as a testing ground for various propositions of morality. A common body of intensive reading will be the basis for class discussion in this seminar. We will learn together and from each other. Each student will have an opportunity to lead discussion, present a short report, and write a long critical (in the sense of analytically illuminating) essay which will surely require reading beyond the common body. A representative (and manageable) reading list will be chosen from works by some (clearly not all) of the following authors: Aeschylus, Sophocles, Plato, Shakespeare, Melville, Kafka, Camus, Durrenmatt, R. Shaw, Miller, Koestler, and several others. We may include the study of a film or two. The seminar's objective is to study the forms literature can take to come to terms with a theme of ethical content. (Bauland)
Section 005 – "America's Most Honored Writer." This seminar, required of concentrators in English, will be devoted to the writing of Thornton Wilder (1897-1975), who won – among many other awards – Pulitzer Prizes for both his fiction and his drama. We will read his seven novels – The Cabala (1926), The Bridge of San Luis Rey (1927), The Woman of Andros (1930), Heaven's My Destination (1935), The Ides of March (1948), The Eighth Day (1967), and Theophilus North (1973); his plays Our Town (1938), The Skin of Our Teeth (1942), The Matchmaker (1954, original of Hello, Dolly!), and at least "The Long Christmas Dinner" (1930) of the short ones; and some of his essays. We will be concerned with thematic and technical relations between his fiction and his drama; the relation between his literary principles and practice; his reception by the critics; his place in literary tradition (particularly in English)); and the value of his achievement. Oral reports, written exercises, and a substantial term paper will be required in this seminar. (Powers)
Section 006 – William Blake's Illuminated Works. This seminar studies the verbal/visual arts of William Blake's illuminated books, together with some of his other writings and pictorial works. The principal illuminated books to be studied are Songs of Innocence and of Experience, The Marriage of Heaven and Hell, and The Book of Urizen. Written work includes classroom reports and longer papers. (Wright)
Section 007 – Fitzgerald and Hemingway. A careful reading, discussion, and critical analysis of selected short stories and major novels by F. Scott Fitzgerald and Ernest Hemingway. Works such as The Great Gatsby, The Sun Also Rises, Tender is the Night, A Farewell to Arms, The Last Tycoon, and A Moveable Feast among others will be the subject and focus of the seminar. Class sessions will be primarily discussions of the texts, the critical reception, and a close textual reading. Class members will lead discussions of individual works, initiate research topics for papers, and write two papers (one on Fitzgerald and one on Hemingway). Some time will be spent on the social and cultural background of the twenties and thirties that helped to shape and identify a new style and approach to American fiction. Regular attendance and participation in the seminar spirit are expected; a final exam is probable to pull things together as an overview of the writers and their works. (Eby)
Section 008 – Two Cultures: Bigotry, Sex, Maturity, and Damnation. By comparing literature from two different eras and cultures that deals with similar subjects, we may be able better to understand both cultures - especially when one of them is our own. In this seminar we will consider representations of bigotry, sex, maturity, and damnation in literature of the turn of the seventeenth century and the middle of the twentieth century. Four of Shakespeare's plays (The Merchant of Venice), Hamlet, Othello, King Lear), all probably written between 1595 and 1605, will form the basis for our understanding of those subjects in the English Renaissance. In comparison, eight plays and novels by contemporary authors will help us to view our own culture. These authors and their works are Sartre, No Exit (1945); Albee, The Zoo Story (1959) and The American Dream (1960); Hochhuth, The Deputy (1963); Jones, Dutchman (1964); Maclean, A River Runs Through It (1976); Walker, The Color Purple (1982); and Kennedy, Ironweed (1983). This seminar requires daily writing and two papers of reasonable length; it has no midterm or final examination. Students who have had English 367 (Shakespeare) with me may not take this section. (Fader)
Section 009 – Major Novels by Faulkner. This course will focus on a study of the background, genesis, and composition of probably four novels, culminating in a close reading of the texts and discussion and the writing of papers developing from this whole process. The novels will probably include Light in August, As I Lay Dying, The Sound and the Fury, and Absalom, Absalom! Students will be assigned critical works for brief reports and will present to their colleagues the substance of their own research and writing as time permits. (Blotner)
Section 010 – The Seventeenth Century. 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. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU). May be repeated for credit.
English 423 is a workshop in which students present their fiction for critiques by their classmates and by the instructor. Also at each class meeting, one story will be discussed from the text, The Best American Short Stories 1986 (Houghton, Mifflin). Recommended reading includes John Gardner's The Art of Fiction: Notes on Craft for Young Writers (Vintage, 1983) and Prize Stories – The O. Henry Awards – 1986. Students are expected to produce fifty-sixty pages of carefully edited fiction and to maintain a writer's notebook. Enrollment in the course is limited. Students should place their names on the waitlist at CRISP, even though the course will be listed as closed, and they should then appear at the first class meeting with a manuscript in hand. A list with the names of those accepted into the class will be posted within a day or two. (Ezekiel)
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. Please submit a writing sample to 7607 Haven Hall and remember to include your phone number. 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)
429. The Writing of Poetry. Written permission of instructor is required. (3). (HU). May be repeated for credit.
A class in the writing of poetry open to students on a permission-of-instructor basis. Class time will be spent discussing poems by members of the class, as well as selected poems from the Norton Anthology and Contemporary American Poetry, edited by A. Poulin, 4th edition. We will also make occasional forays into Claims for Poetry, a book of essays by contemporary poets. Students will be expected to turn in new or revised work on a weekly basis, and four assignments will be made during the term to supplement this work. As part of our exploration of poetry we will from time to time get poems by heart and say them aloud in class. At the end of the term students will be asked to assemble a collection of what they have written for the class and to write a three-page introduction to this collection. Please leave five or six poems off in my mailbox by January 4th. (Tillinghast)
432. The American Novel. (3). (HU).
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, Cather, Hemingway, Fitzgerald, Faulkner, and Ellison, works such as The Scarlet Letter; Moby Dick; Huckleberry Finn; Sister Carrie; Wineburg, 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 help provide a basis for class discussion and analysis. There will be three one-hour tests and a term paper. (Blotner)
433. The Modern Novel. (3). (HU).
We shall examine together some major novels written during the modern period to understand both the achievements of their individual authors and the dynamic changes that occurred in our culture during that period. We shall begin with Dostoevsky's Crime and Punishment to examine 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 Castle and Gide's self-conscious novel about art and reality, The Counterfeiters. We shall spend a number of weeks on Joyce's Ulysses, trying to comprehend the full dimensions of the work and its relation both to the history of the novel and twentieth century civilization. Camus' The Plague 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 variabilities 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).
This course will be a study of the Postmodern Novel, and will explore Postmodernism along two different axes: as a reaction against Modernism, and as a reflection of current social and cultural conditions. In order to formulate a definition of Postmodernism, we will first begin with two Modern works: Portrait of the Artist as a Young Man and To the Lighthouse, along with a few classic analyses of Modernism, like Ortega's The Dehumanization of Art. We will then read a range of Postmodern fiction, respecting the divergence of contemporary "avant-garde" fiction; Donald Barthelme, Snow White; Thomas Pynchon, Gravity's Rainbow; Don Delillo, Players; Angela Carter, The Passion of New Eve; Calvino, If on a Winter's Night a Traveller; Milan Kundera, The Book of Laughter and Forgetting; John Berger, Pig Earth; Toni Cade Bambara, The Seabirds are Still Alive; Margaret Atwood, The Edible Woman; Jayne Anne Phillips, Machine Dreams. In the middle of the term we will spend two weeks on Postmodern literary theory, since the connections between recent theory and fiction are mutually illuminating, and we will probably read Roland Barthes, S/Z; and Jonathan Culler, On Deconstruction. The theory will be discussed largely in relation to issues generated by the novels, but some background in philosophy would help. Three papers, one long and two short, final exam. (Kucich)
441. Contemporary Poetry. (3). (HU).
A study of American poetry from World War II to the present, concentrating especially on Elizabeth Bishop, Allen Ginsberg, Robert Lowell, Sylvia Plath, Gary Snyder, James Wright, and Frank O'Hara, but surveying other important poets of the period. We focus first on the formal verse of the 1950's, represented at its best by Richard Wilbur; next the autobiographical poetry of Plath, Lowell, Ginsberg, and others; then the "deep image" school of Bly, James Wright, Kinnell, and Dickey; and the "New York Poets," typified by Frank O'Hara. The course culminates in a reading of some of today's younger poets. Previous poetry courses would certainly provide good preparation, but there are no prerequisites. In particular, a course in Modern Poetry (Yeats, Eliot, Pound, Williams, et al) would be helpful for students contemplating taking this class. An hour test, a midterm, two papers (one of them long), and a final exam will provide the basis for evaluation. The class will be taught through a combination of lectures and discussions. (Tillinghast)
444/Theatre 422. History of Theatre: II. (4). (HU).
See Theatre and Drama 422. (Aronson)
445. Shakespeare's Rivals. (3). (HU).
Even without the formidable presence of Shakespeare, the period of English drama between 1580 and the closing of the theatres in 1642 would stand as one of the most brilliant in the history of world theatre. Not until our own century have dramatists experimented with such a range of dramatic forms, combining the traditional with the innovative, or displayed such diversity of dramatic styles. Written for all levels of London society, their plays explore a number of subjects: the relation of man to his social contexts; the border regions of the psyche, especially the areas of abnormality and obsession; the nature of power and aspiration; the implications of acting, in all its social forms; and the complex interrelationships of comedy and tragedy. Dramatists will include Kyd, Marlowe, Greene, Dekker, Tourneur, Jonson, Middleton, Rowley, Beaumont, Fletcher, and Webster. Class meetings will combine lecture with discussion; requirements include regular attendance, participation, two papers, midterm and final examination. Familiarity with the plays of Shakespeare is not required, but will enrich the experience of the course considerably. (Garner)
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).
This course will read all of Milton's major poems, and a substantial amount of his prose, in the context of Milton's own political experience. We will be particularly concerned with Milton's complex attitude to divine and secular forms of authority, to sexuality, to the Bible, and to classical epic. The course will mix lecture and discussion. Requirements include two papers (one short, one long), attendance, participation, and a final examination. (Schoenfeldt)
471. Nineteenth-Century American Literature: Key Texts. (3). (HU).
American Fiction 1865-1914: In a Land of Promise and Broken Promises. The fifty years between the Civil War and the First World War transformed American life rapidly and completely. The spread of industry, the growth of the cities, immigration, economic depressions, contrasting extremes of wealth and poverty, labor unrest, agitation for women's rights and other reforms, the impact of science on intellectual life – these and other factors seemed to threaten the very foundations of social order. New ideas of the self and new ideas of society – ideas which are, arguably, the basis of our own thinking – came into being. In the course we will study imaginative responses in fiction to this extraordinary period. We will read (tentatively) Mark Twain, William Jean Howells, Sarah Orne Jewett, Charles Chesnutt, Edward Bellamy, Elizabeth Stuart Phelps, Horatio Alger, Hamlin Garland, Abraham Cahan, Kate Chopin, Theodore Dreiser, Gertrude Stein. The class will be primarily discussion, with occasional lectures. Students will do frequent brief writing assignments (including, I hope, some computer conferencing), a midterm, and a term paper. I will expect everyone to complete reading assignments on time, attend class regularly, and participate in class discussion. (Howard)
478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (HU).
See Afroamerican and African Studies 476. (Awkward)
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 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)
489/Educ. D 440 (School of Education). Teaching of English. Engl. 305 is prerequisite, and concurrent election of Educ. 307, section 040 (formerly Educ. D 309, section 061) is required. (3). (HU).
ADMISSION BY OVERRIDE ONLY (See Professor Howes). This cross-listed course is the methods course required of English concentrators who seek certification. Enrollment in Education 307 is concurrent. There will be some attention to theoretical issues implicit in the politics of education and in the teaching of language, literature, and writing. Readings and discussion (along with students' individual presentations and group projects) will converge on the perennial practical concerns of teachers of English in the schools. (Van't Hul)
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)
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