After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. English 325 offers the opportunity for work in argumentative and expository prose at a more advanced level.
Several sections of English 223, the beginning course in creative writing, are available each term; the work is multi-generic, and two of the following will be covered in each section: fiction, poetry, and drama. More experienced writers may apply for admission to specialized sections of English 227 (Playwriting), English 323 (Fiction or Poetry), English 423 (Fiction), English 427 (Playwriting), and English 429 (Poetry). Admission to these advanced courses is by permission of the instructor, who will require writing samples.
Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.
125. Introductory Composition. ECB writing assessment. (4). (Introductory Composition).
Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates 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 16. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
Sections 024, 051, 085 (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 the student's skills in writing. Students will read MERCHANT OF VENICE, MEASURE FOR MEASURE, MACBETH, KING LEAR, and THE TEMPEST, using them as the basis for weekly writing assignments. Some class time will be devoted to the discussion of students' writing. (Mullaney)
For all English classes, registered students must be present at each of the first two meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
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 6 to March 11). 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 16.
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 sharing drafts of papers and examining 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 16. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
Sections 010 and 025: PERMISSION OF COMPREHENSIVE STUDIES PROGRAM (CSP). These CSP sections are designed for students who want an additional writing course. They require students to spend additional time outside of class on group projects and in the CSP Writing Workshop. In addition, they are designed for students who want to learn argumentation, write logically and persuasively, recognize fallacies and be exposed to a variety of provocative and interesting contemporary topics. These topics (on minority issues and concerns) are analyzed by students in discussions, in in-class and researched essays and occasionally in midterm and take home examinations. Class sessions typically include writing instruction as well as peer group assignments and editing sessions in which drafts and finished papers are critiqued by the entire class. Students will write approximately 8 to 9 essays for specific audiences and a final research paper. (Story)
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.
Section 001. AIMS OF THE COURSE: To read prose carefully. To entertain such questions as: What is the difference between reading a book and reading a map? If a thing is a fiction, what is it? What talk about stories, or "study" them in classes like this one? What makes for goodness in stories? For badness? How does the pleasure or pain of reading a story differ from the pleasure of eating ice-cream or the pain of a toothache? Can reading stories make us better people? Does it make a difference whether a story is spoken or written? Four novels, some short stories, many very short stories, fairy tales, folk tales, possibly a joke or two. Two seven page papers, two hour exams, ambush quizzes, in-class writing. CLASS ATTENDANCE REQUIRED. This is a discussion class and you WILL have opportunities to discuss. (Clark)
Section 004. In the course of the term, we will examine works of short fiction – both short stories and brief (less than 200 pages) novels - as a means of reflecting on the act of interpretation. You have all, of course, already been "introduced" to fiction, and this course will assume that you have been asked to respond on a formal level to works of fiction during your academic career. What this class will explore then is how we make meaning out of images, symbols and metaphors, how, in other words, we come to conclusions about what a work of fiction means. How does who we are – our genders, races, classes, experiences, etc. – affect the interpretative process and influence the way we think about specific texts and the issues they address? For the purpose of reflecting upon these matters, you will be asked to keep a journal of your responses to the reading material throughout the term, write three 5-page essays, take a final examination, and also participate actively in class discussions. Texts for the course will be international in their origin, and will include works by Kate Chopin, John Barth, Chinua Achebe, Alice Walker, Albert Camus, Gabriel Marquez, and George Eliot. (Awkward)
All other sections of English 230 will have course descriptions available for reference in 444 Mason Hall after November 16. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. This course, a prerequisite for concentrators in English, is an introduction to English and American poetry. In this section, students will read a wide variety of poems drawn from the NORTON ANTHOLOGY OF POETRY. I shall be organizing the course according to poetic kinds of themes, working chronologically within each category. Occasional brief lectures will serve to direct and focus discussion, which will be the primary method of instruction. Student responsibilities in the course include the following: three or four in-class writing exercises, one or two oral reports, a long end-of-term essay, and a final examination. Regular class attendance is required, and each student's contribution to class discussion will be a factor in the assignment of grades. (Jensen)
Section 002. This course will "introduce" students to poetry by exposing them to a rich and abundant variety of poems – for which the Shorter Edition of THE NORTON ANTHOLOGY OF POETRY, revised edition, will suffice (when augmented by some additional examples). We will examine various traditional forms (gaining familiarity with terminology traditionally used in the discussion of poetry) and note their development though various periods. We will thus be concerned primarily with HOW poems express what they have to say about the human condition, but also, of course, with WHAT they have to say. The course may conclude with a more extensive examination of the work of a single poet (say Robert Frost or T.S. Eliot). Several written exercises of various length will be required and perhaps a final examination. The course will depend principally on class discussion. (Peters)
Section 003. 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 004. The aim of this first course in poetry is to introduce you to the various ways poems can work their magic so that you can read and discuss any poem with understanding and delight. Our basic strategy in the course will be to explore poetic expression in as many ways as possible: through silent reading and reading aloud, through close analysis and more global response, through open class discussion and small group discussions, and through various forms of writing (both spontaneously exploratory and more carefully argued). During the term, we will move back and forth between detailed, full readings of individual texts and general surveys of poetic techniques and forms. For the former, we will use THE NORTON ANTHOLOGY OF POETRY, for the latter, WESTERN WIND by John Frederick Nims. To record your day-to-day interaction with texts, I will ask you to keep a poetic journal. More formal writing assignments will include occasional impromptus, four short papers (3-4 pages), and one longer paper (5-7 pages). (Cureton)
Section 005. This section is an introduction to the shifting and variable qualities of poetry in English and to the manifold possibilities of critical reading and, especially, critical writing. We begin with the poetry of "Questions," proceed to classes on "Worlds," "Stories," "Speakers," and "Times"; then take up verbal elements, such as "Words," "Lines," "Stanzas and Paragraphs," "Refrain and Repetion." The second half of the course focuses on the significance of poetic genres (sonnets, odes, elegies) and concludes with a study of one living poet to be selected. Texts: THE NORTON ANTHOLOGY OF POETRY, a course pack, and one paperback volume of poems by a contemporary poet. Requirements: attendance and participation; daily in-class writing; two reports on poetry readings; two papers; final in-class exam. Discussion. (Ellison)
Section 006. This course is intended for anyone wishing to increase his or her enjoyment and understanding of poetry. Through a wide range of poems we will explore both the ways in which poems work and the ways we can understand and improve our responses to them. After an introduction to poetic analysis using very short poems, we will progress chronologically from Shakespeare to the present, emphasizing particularly the last two centuries and ending with an in-depth study of one major modern poet (W.B. Yeats). Class discussion and occasional informal lectures will focus primarily on close reading of individual texts, but students should also emerge from the course with some grasp of the historical development of poetry in English. Frequent exercises and short papers, the last of which will serve as a final exam; no prerequisites. The text will be THE NORTON ANTHOLOGY OF POETRY, 3rd edition. This section is primarily for students in the Honors Program. (Bornstein)
Section 007. 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. (Lenaghan)
Section 008. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," one or two formal papers of analysis, and a midterm and final. Class proceeds by discussion. Text is the complete NORTON ANTHOLOGY OF POETRY. (Zwiep)
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. A final exam – about poetry and poems. Our texts will be the third edition of THE NORTON ANTHOLOGY OF POETRY and – for the last few weeks of the term – Seamus Heaney's POEMS 1965-75. I have ordered our books from Shaman Drum Book Store, 313 S. State St. (Hornback)
Section 010. The primary goal of this course will be to develop and refine the skills needed to read poetry with a heightened critical awareness, and we will be principally concerned with analyzing the craftsmanship of individual poems. We will also compare a number of different critical methodologies (biographical, new critical, and deconstructionist, for example) in order to consider their relative strengths and weaknesses in helping us understand poetry. In addition, we will try to offer a context for discussing poems from many different literary periods by focusing on how particular poets and poems encounter and depart from established conventions. Class meetings will be devoted to discussion of the poems and will include an occasional background lecture. Several short papers and a longer term paper will be required. (Dennis)
Section 011. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," one or two formal papers of analysis, and a midterm and final. Class proceeds by discussion. Text is the complete NORTON ANTHOLOGY OF POETRY. (Zwiep)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
Section 001 – What have "theater" 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 nowadays 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 Euripedes, Shakespeare, Molière, Ibsen, Chekhov, Brecht, and Beckett. Students will also be introduced, through Project Theatre's professional production on-campus, to the making of a theatrical event from conception to performance: those involved with this and other significant local happenings are expected to visit the class. Grades will be awarded on the basis of participation in class discussions and projects, written papers, and exam. (Ferran)
270. Introduction to American Literature. (3). (HU).
Section 001. See the English Department after November 16 for a description.
Section 002. We will study some of the greatest works of American literature since the mid-nineteenth century, paying particular attention to their historical and cultural context. We will include poetry by Dickinson, Whitman, Frost and Ginsberg, and fiction by Melville, Hawthorne, James, Chopin, Twain, Faulkner, Hemingway, Wright and Walker. I rarely give formal lectures, much preferring the give-and-take of discussion and spontaneous questions. If you join the class, be prepared to participate. Apart from the usual essays and exams, there will also be a class computer conference that will allow us to explore these works in different ways. (Strychacz)
Section 003. We will study authors and traditions of American literature from the mid-nineteenth century to the present, beginning with Hawthorne, Whitman, and Dickinson. Written work will include journals, short reports, and a longer paper. (Wright)
280. Thematic Approaches to Literature. (3). (HU).
COMIC RESPONSES TO CATASTROPHE. We will study a selection of modern literature which takes thematic material traditionally treated with "high seriousness" and casts it in an essentially comic mode. The reading will be post-World War II fiction and drama which keeps us laughing all the way to the grave. We will, by reading these works closely, try to determine how and why they are comic and, further, try to define and describe the nature of comedy. We will read 9 or 10 books (some fiction; some drama) by SOME of these authors: Bellow, Barth, Wallant, DeVries, Toole, W. Allen, Grass, Stoppard, Pynchon, Roth, Malamud, Nabakov or several others. Students will also read a 4-page anthology of comic theory from Plato and Aristotle to Al Capp and Stephen Sondheim. The class will be mostly discussion and eminently interruptible informal lecture. Requirements are two 5-7 page papers, one in-class essay exam, and an essay final. The course is suitable for anyone who enjoys reading literature, analyzing it, talking and writing about it – while discovering why we laugh at other people's pain. (Bauland)
285. Introduction to Twentieth-Century Literature. (3). (HU).
This course is designed to introduce students to ways of reading twentieth century literature. In order to focus our discussion of texts, works have been chosen which share a common theme: the relationship between the outsider and a variety of systems from the family to the state. Excluding individuals from the pleasures and protections of belonging is certainly not a phenomenon unique to the twentieth century, but the vastness, the technology, and the complexity of modern life conspire to intensify this experience psychologically and bring its consequences to a level of brutality unimaginable in earlier times. Not surprisingly, modern writers find alienation, persecution, and the pressure of conformity rich subjects for their imaginative investigations. We will begin with John Fowles, THE FRENCH LIEUTENANT'S WOMAN, a novel that contrasts twentieth century concerns with their nineteenth century antecedents, thus providing a useful perspective from which to understand the particular quality of modern consciousness. We will follow our theme in novels which include Muriel Spark's THE PRIME OF MISS JEAN BRODIE, William Faulkner's LIGHT IN AUGUST, Anne Tyler's DINNER AT THE HOMESICK RESTAURANT, Toni Morrison's SULA, and Virginia Woolf's MRS DALLOWAY; in Harold Pinter's drama, THE BIRTHDAY PARTY; in short stories by Ernest Hemingway, James Joyce, Franz Kafka, and Cynthia Ozick; and in the poetry of Czeslaw Milosz. Through their work we will examine not only 20th century philosophical and psychological issues, but the demands such as issues place on the techniques through which they are expressed. Despite the numbers, this class will be run a lecture/discussion, with an emphasis on the latter. Class requirements include regular attendance, two papers, a reading journal, and a final exam. (Wolk)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (HU).
Writing is a medium of communication that can be used effectively by everyone. It is not a technical discipline, nor is it a medium that can be used well only by people with particular talents. The goal of this course is to help students increase their competence in and enjoyment of writing. This is a large lecture course. The size and structure require strictly-enforced deadlines for the completion of reading assignments, rough drafts and final drafts. Regular participation in a course computer conference is required. This course description sounds grim. We try to put a little fun into it. (Meisler)
308. History of the English Language. (3). (HU).
Ever wonder where the English language came from? Why American English is different from British English? What the language of Chaucer in the fourteenth century sounded like, or the language of the Beowulf poet 600 years before that? Why some people say not to end a sentence with a preposition? Why some words are spelled differently but pronounced the same? Or why the vocabulary of English is so full of words from Latin, French, and many other languages? This is a course which will give you some answers. We will study the history of English, from the earliest times when Germanic peoples first settled in Britain, through the language of Chaucer and Shakespeare, and up to the several varieties of English spoken today. We will look at what sort of language English was at each period, and what changes it went through, as well as the connection between language change and historical events, social structure, and cultural factors such as literacy. This is a lecture course, with some class discussion. Work will include several short homework assignments, a midterm, and a final. There are no prerequisites. (Wiegand)
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
Section 001 – WOMEN IN MEDIEVAL LITERATURE. This course will examine images of women in medieval literature, including such recurrent types as the heroine of medieval romance, the saint, the mystic, the long-suffering and patient wife, the shrewish wife, the eternal Eve, and the image of the mother of God. Women are both idealized and satirized in genres such as romance, fabliau, drama, and lyrics, and much of the course will be devoted to reading and discussing such works, including selections from the ROMAN DE LA ROSE, Chaucer, Chrétien de Troyes, and Marie de France. As background and context for the course we will read and discuss excerpts from Biblical texts and commentaries, and other writings which helped to shape contemporary ideas about sex, women and marriage. We will consider what some contemporary letters, documents and other writings show about what life was like for women in the Middle Ages. Requirements: class presentations by students, and two papers. Books: Coursepack and Geoffrey Chaucer, THE CANTERBURY TALES, trans. David Wright, World's Classics (O.U.P.), l986. (McSparran)
Section 002 – DONNE, HERBERT, JONSON, AND THE EARLY SEVENTEENTH-CENTURY LYRIC. Through close analysis of the works of these three poets in their social and political context, we shall explore the complex and anxious relationship between self and society, sincerity and artifice, submission and authority, that these poems posit. By reading these lyrics addressed to mistresses, masters, friends, and God (audiences that are not always discrete) as social performances as well as literary artifacts, we shall attempt to establish some connections between poetry and other forms of cultural activity. Requirements include attendance, participation, and two papers (one short and one long). (Schoenfeldt)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
INVENTING WOMEN. Do you expect to find yourself, or invent yourself? What does it mean that we define ourselves as "women" and "men"? What is the fit – or conflict – between our identities as Black, Latino, white, Asian-American, or Native American, and the other ways in which we invent selves and communities? This class will explore the hypothesis that the "I" and the "we" are constructed at least in part through story-telling. We will examine a group of extraordinary modern and contemporary stories about, and mostly by, women, in the diverse forms of novel, short story, autobiographical narrative, poetry, essay, and visual image. Authors read will include: Toni Morrison, Virginia Woolf, Maxine Hong Kingston, Zora Neale Hurston, Joanna Russ, Henry James, Anzia Yezierska, Adrienne Rich. Students who enroll are asked to subscribe, at least during our class meetings, to two assumptions: that stories matter, and that women matter. We will pay special attention to the ways in which identities defined in terms of race, class and gender intersect, and to the role of language and formal experiment in these works. The format for most class meetings will be discussion. Regular attendance, several short papers, perhaps a midterm and definitely a final examination will be required. (Howard)
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 MASS CULTURE. This course focuses on the relationships between a literary text and other forms of cultural expression, from high art to the products of mass culture. We will begin, for instance, by examining the social and literary function of horror in some tales of the American Renaissance, notably Poe's "The Murders in the Rue Morgue." Later, we will study Henry James' THE PORTRAIT OF A LADY in the context of many other "portraits" of women of the age: pre-Raphaelite painting and poetry, the poetry of Emily Dickinson, Gibson girls, women in advertising, and so on. We will ask such questions as: where do images of Gothic horror originate? Why are stories and images of horror so appropriate to Poe's (and our) culture? What kind of images of women were available to James, and how do his images reproduce or subvert those popular images? Other writers will probably include Nathanael West, Dorothy Parker, John Dos Passos, Robert Coover, Bernard Malamud, Edith Wharton, each placed within a particular field of cultural expression. Over the course of the term we will attempt to put together a kaleidoscopic, interdisciplinary "portrait" of our culture over the last 150 years. If you're interested in the course, please come by to pick up a more thorough description of the syllabus. (Strychacz)
Section 003 – BIGOTRY, SEXUALITY, AND MATURITY IN THE LITERATURE OF TWO CULTURES. The purpose of this course is to invite its members to examine some assumptions of their own culture by comparing them to related assumptions in another, distant culture. Its method will be to compare the English Renaissance as it reveals itself in four of Shakespeare's plays with the post-World War II cultures of Europe and America reflected in eight plays and novels by Sartre, Hochhuth, Ellison, Jones, Albee, Walker, and Kennedy. Each class will begin with fifteen minutes of writing in response to a question intended as preparation for class discussion that follows. In addition to these numerous in-class papers, three 2-3 page papers will be required as preliminary versions of three 5-6 page papers that are the chief written work of the course. No midterm or final examination given. All students in this class must take it as a Junior/Senior Writing course. No one who has taken English 367 (Shakespeare's Plays) with Professor Fader may register for this course. (Fader)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
SCIENCE FICTION. This course will examine both the history and the 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 in three ways: 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 intended to educate the typical intelligent senior in the class. The frequency of papers will allow students to develop their understanding incrementally and allow me to get continuing insight into the interests of the class. Texts include R. Scholes & E.S. Rabkin, SCIENCE FICTION: HISTORY, SCIENCE, VISION (a resource to be consulted as you need), and works of Mary Shelley, H. Bruce Franklin, H.G. Wells, Eugene Zamiatin, Karel Capek, Olaf Stapledon, Ray Bradbury, F. Pohl & C.M. Kornbluth, Arthur Clarke, Walter Miller Jr., Ursula LeGuin, Robert Heinlein, and Isaac Asimov. (Rabkin)
319. Literature and Social Change. (3). (HU). May be repeated for credit with department permission.
Section 001. THEATRE AND SOCIAL CHANGE. Reading: Greek, Shakespearean, and "non-political" modern drama to put issues of social change in perspective; Artaud, Boal, Brecht, Growtowski, Klein, Paterson, and others for background and ideas; a play or two from the 1930s; (main focus): plays by progressive groups of the last 25 years, guerrilla theater, Chicano theater, the Free Southern Theater, Cuba's Escambray Theater, Baraka's revolutionary plays, African and Nicaraguan theater for development, and contemporary grassroots theater. Excursions to local productions are probable. Production: This is the main thrust of the course – the first weeks will have intensive reading, the subsequent weeks we'll be planning and producing various forms of progressive theater in our community. Students with theater experience are welcomed, but such experience is not required. Required is an interest in arts and politics, a willingness to try acting in nontraditional contexts, and a cause around which you would want to shape a performance. Grading procedures will be decided by students and instructor. See instructor for permission to enter course: 1631 Haven Hall, Friday, 1: 15-3:00 plus extra hours during preregistration. (Alexander)
Section 002. In Winter Term, 1988, this section is offered jointly with CAAS 358.002. See CAAS (200 W. Engineering) for further information. (Govender)
323. Creative Writing. Junior standing and written permission of instructor. (3). (HU). May be repeated for credit.
Section 001. POETRY. The primary focus of this section will be the student's own poems. Revision of work will be facilitated through class "workshop" discussion of the poems, as well as the instructor's written criticism. To help build a context for the student's own work, we will be reading contemporary poetry, as well as essays by modern/contemporary poets. Besides compiling their own work, students will be required to make a brief, in-class presentation on a poet of their choice. During the term our discussions will touch on topics of importance to the working poet: imagery, free verse, form and meter, publication, audience, and the revision process, among others. (Sheehan)
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, and attend readings by visiting writers. WRITING WITHOUT TEACHERS is the required text, and there may be a course pack. You will also 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 – FICTION. Students in this workshop are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately fifty (50) pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. (Ezekiel)
Section 004 – FICTION. This is a writing workshop designed for the 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 10 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, so students should place their names on the waitlist during registration. (Hagy)
325. Intermediate Exposition. (4). (HU).
This course gives students practice in writing argumentative and expository prose. Its basic goal is the development of an effective personal style, with attention to tone, nuance, figurative expression, argumentation, and critical thinking. Assignments, totaling 40 pages or more of revised prose, will vary in kind and will allow students to choose their own topics where possible. A long paper may be assigned.
All sections of English 325 will have course descriptions available for reference in 444 Mason Hall after November 16. For all English classes, registered students must be present at each of the first two class meetings to claim their places. Any student who does not meet this requirement may be dropped from the course.
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's 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. A selection of works from the late Middle Ages through the Renaissance, e.g., THE CANTERBURY TALES; SIR GAWAIN AND THE GREEN KNIGHT; medieval plays; THE FAERIE QUEEN; 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. Short written exercises or papers throughout January and February, with a longer paper in late March; a midterm and final exam. (English)
Section 003. This course will be an intensive survey of great works in the English tradition from Chaucer to Milton, beginning with selections from the CANTERBURY TALES and ending with PARADISE LOST. While much of our time will be spent with the long narrative poems, including selections from Spenser's FAERIE QUEEN, we will also read a play by Shakespeare and a selection of important Renaissance lyrics. Classes will combine discussion, close reading and occasional background lectures. Several short papers and a longer paper will be required. (Dennis)
Section 004. In this course we will read and discuss some major authors and works from the Middle Ages and the Renaissance. Some major texts we will read are: BEOWULF, SIR GAWAIN AND THE GREEN KNIGHT, parts of Chaucer's CANTERBURY TALES, a medieval play, Marlowe's DR. FAUSTUS, Shakespeare's KING LEAR and parts of Milton's PARADISE LOST. The course is the first in the core sequence required for English majors. Instruction will be by lecture and discussion, and grades will reflect students' participation in class as well as performance in a midterm and final examination, and in several papers on assigned topics. (McSparran)
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 QUEEN (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)
Section 007. This course, the first in the core sequence required of English concentrators, will examine the major works of English literature from the Middle Ages and the Renaissance. The readings will include Chaucer's CANTERBURY TALES (selections), SIR GAWAIN AND THE GREEN KNIGHT, Marlowe's DR. FAUSTUS, Jonson's VOLPONE, lyrics by Donne and Herbert, Spenser's FAERIE QUEEN (Book I), and Milton's PARADISE LOST. We will pay particular attention to the relationship between the literature and its social and historical context. Class will mix lecture and discussion, with occasional lectures intended to elicit discussion through an explication of this context. Requirements: attendance and participation, three papers, and final exam. (Schoenfeldt)
356. Core II (Great English and American Books). (4). (HU).
Section 001. An introduction to central authors and literary problems in England and North America, from 1660 to 1850. This period is marked by vast changes in men's and women's literacy and in economic and social organization. These changes are reflected in the vivid, diverse literature of the period itself. In order to understand the relationship between "great books" and the social world out of which they arise, we will study authors from a wide range of political and economic backgrounds (Aphra Behn, John Dryden, Alexander Pope, Anne Finch, Samuel Johnson, Eliza Haywood, Mary Wollstonecraft, Dorothy and William Wordsworth, Mary and P.B. Shelley, Walt Whitman and Harriet Beecher Stowe). And we will discuss how major literary forms (Pindaric ode, verse epistle, picaresque novel, lyric poetry, sentimental novel) are related to other kinds of writing (sermons, letters, diaries, slave narratives). Classes combine lecture and discussion. You will be graded on class participation, a series of short (2-3 pages) papers that emphasize close reading, midterm and final exams. (Barash)
Section 002. The course is designed to survey British and American literature of the 18th and 19th centuries to the extent possible within one term. Readings will include Defoe's MOLL FLANDERS; selections from Dryden, Pope, Collins, Gray, and Blake; a representative sampling of British Romantic poetry; Mary Shelley's FRANKENSTEIN; Poe's TALES; Hawthorne's SCARLET LETTER, and short works by Melville. Attention will be given to the historical contexts within which these authors worked, the literary tradition they initiated, extended and in some cases parodied, as well as the questions their works continue to pose. Requirements: three short papers and a final exam. (Larson)
Section 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 early 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 004. This section of Core II studies poetics and philosophical 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/Austin. Written work includes in-class essays and longer papers. (Wright)
Section 005. In this survey we shall analyze literary works in different genres written during the period 1700-1860. English Neoclassicism will be represented by readings in the poetry of Alexander Pope, as well as John Gay's THE BEGGAR'S OPERA and Daniel Defoe's ROBINSON CRUSOE. We shall then read extensively in the Romantic poets, especially Wordsworth and Keats, and study Jane Austen's PRIDE AND PREJUDICE. Crossing the Atlantic, we shall consider prose by Thomas Paine and R.W. Emerson, Harriet Beecher Stowe's UNCLE TOM'S CABIN, the poetry of Walt Whitman, and perhaps some short fiction. These texts will be read in their historical context, some more than others. The format is lecture-discussion. Required work includes three papers, one midterm and one final examination. (Goldstein)
Section 006. This course, second in the core sequence for English concentrators, surveys central authors in British and North American literature from 1660 to 1850. The 18th century initiated a remarkable number of genres: modern satire, the periodic essay and journalism, the literary letter, and the realistic novel are the four we will consider. To understand their origins, we will begin with the clashing political and literary opposites of the late 17th century, seen in Milton's epic works and Restoration comedy. With the NORTON ANTHOLOGY OF ENGLISH LITERATURE as the basic text, we will study developing variations of the satiric spirit in works of Dryden, Pope, Johnson, and others. In separate editions, we will read Defoe's MOLL FLANDERS, Fielding's TOM JONES, and Austen's PRIDE AND PREJUDICE. We will consider the spirit of revolt heralded in Blake's poetry and emerging Romanticism in the lyrical poetry of Wordsworth, Coleridge, Keats, and Shelley, and in Brontë's WUTHERING HEIGHTS. Looking to America, we will read tales of Poe or Hawthorne and poetry and essays of Emerson. The course will combine lecture and discussion and require two papers, a midterm, and a final exam. (Leithauser)
357. Core III (Great English and American Books). (4). (HU).
Section 001. This course will examine works by American and British writers from the mid-1800's to the present day. Texts by male and female authors will be read in pairs in order to raise issues concerning the formation of a literary canon, the differences between Victorian, modern and post-modern literature, and the significance of race and gender within literary studies. Novels will include Brontë's JANE EYRE and Dickens' DAVID COPPERFIELD; Forster's PASSAGE TO INDIA and Woolf's TO THE LIGHTHOUSE; Faulkner's ABSALOM, ABSALOM! and Morrison's THE BLUEST EYE. Additional readings will include plays by Shaw and Churchill, poetry by Browning, C. Rosetti, Bishop and Frost, and literary essays. There will be several short papers and a final exam. (Herrmann)
Section 002. In this course we will read a wide range of late 19th century and 20th century American and British poets and novelists in order to illustrate something of the richness and variety of literature during this period. Poets will include Browning, Eliot, Frost and Levertov. Novels will include Forster, A PASSAGE TO INDIA; Woolf, TO THE LIGHTHOUSE; Hemingway, THE SUN ALSO RISES; Bellow, HENDERSON THE RAIN KING; Faulkner, AS I LAY DYING; and Morrison, SONG OF SOLOMON. There will be a number of short papers and a final examination; the usual mode of instruction will be discussion. (Howes)
Section 003. This course will meet twice a week for one and a half hours per session to confront the topic of the class in the most direct manner: What constitutes a "great book" in the English language and in the culture of "America"? What are the criteria by which such judgments are made, and what are the implications and consequences of such judgments? One approach to this complicated issue will be the examination of texts that have received considerable attention within their own cultural contexts. For example, we may examine Euro-American texts such as T.S. Eliot's THE WASTE LAND and Ernest Hemingway's THE SUN ALSO RISES within a Euro-American cultural context. But then we may also examine Leslie Marmon Silko's CEREMONY within a Native American Indian cultural context; Zora Neale Hurston's THEIR EYES WERE WATCHING GOD within an Afro-American cultural context; Lorna Dee Cervantes' EMPLUMADA within a Chicana cultural context; Maxine Hong Kingston's WOMAN WARRIOR within a Chinese-American cultural context; etc. Since almost no contemporary cultural context – no matter how distinctive its particular historical, folkloric and religious traditions – is entirely free of numerous external influences, we will probably end the term with an example of "internationalist" culture by examining the poetry of Ernesto Cardenal. A beat poet and liberation theologist, Cardenal blends traditions from the U.S. section of "America" (such as those of Ezra Pound and William Carlos Williams), with traditions from Native Peoples of both North and South America, along with major writers of his own Nicaraguan homeland (Ruben Dario) in Central America. Requirements include two papers, a midterm exam, final exam, and possible participation in a class presentation. (Wald)
Section 004. The third in the Core sequence for English concentrators, this course will treat British and American literature from the mid-nineteenth to the mid-twentieth centuries. Although the emphasis will fall on fiction, some poems of the major poets of the period – Tennyson, Browning, Yeats, Eliot, and Auden – will be studied. The fiction to be read includes George Eliot's MIDDLEMARCH, Henry James' PORTRAIT OF A LADY, Edith Wharton's THE AGE OF INNOCENCE, Joseph Conrad's HEART OF DARKNESS, James Joyce's PORTRAIT OF THE ARTIST AS A YOUNG MAN, D.H. Lawrence's LADY CHATTERLY'S LOVER, F. Scott Fitzgerald's THE GREAT GATSBY, Ernest Hemingway's THE SUN ALSO RISES, and William Faulkner's THE BEAR. There will be two medium-length papers (about six pages) and two hourly exams. The course will combine lecture and discussion, the instructor's hope being that student initiative and aptitude in the latter mode will minimize the need for the former. (Beauchamp)
Sections 005 & 006. This course will treat central British and American writers from the mid-nineteenth to the twentieth century, examining the historical, intellectual, and cultural contexts they were part of, characteristic issues, styles, and techniques for each author, and some of the literary problems they tackled in selected major works. By way of close reading, we will study the thematic and artistic components of these works, taking them as examples of their genres as well as on their own terms. Our list of authors will include John Ruskin, Walter Pater, Alfred Lord Tennyson, Matthew Arnold, George Eliot (ADAM BEDE), Walt Whitman, Willa Cather (DEATH COMES FOR THE ARCHBISHOP), Henry James (WHAT MAISIE KNEW), Gerard Manley Hopkins, William Butler Yeats, T.S. Eliot ("The Love Song of J. Alfred Prufrock," "The Waste Land"), Wallace Stevens, James Joyce (A PORTRAIT OF THE ARTIST AS A YOUNG MAN), Virginia Woolf (TO THE LIGHTHOUSE), Zora Neale Hurston (THEIR EYES WERE WATCHING GOD), and William Faulkner (THE SOUND AND THE FURY). Aside from occasional lectures, class time will be spent in exploratory discussion of what we read. Students will write two 5-7 page papers, and take a midterm and final exam. (Maxson)
Section 007. This is the third in the series of Core Courses, covering major writers from the late nineteenth through the twentieth century. With an attempt at comprehensiveness, we will read poetry by Tennyson, Yeats, Eliot and Stevens; novels by Trollope, Woolf, and Faulkner, short stories by Joyce and Hemingway; plays by Shaw and Beckett. The course will emphasize close reading and class discussion. Requirements: midterm, final, two papers. (Zwiep)
367. Shakespeare's Principal Plays. (3). (HU).
This course will focus on reading Shakespeare with an eye toward performance. Students will become acquainted with techniques of playwriting and conventions of tragedy and comedy as they apply to Shakespeare's work. Plays to be studied include HAMLET, OTHELLO, A MIDSUMMER NIGHT'S DREAM, RICHARD III, MACBETH, KING LEAR, MEASURE FOR MEASURE, CORIOLANUS, and THE WINTER'S TALE. This is a lecture course, but class sessions will also rely on several video productions for illustrative material. Student evaluation will be based on written assignments as well as examination. (Brater)
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).
See English department for course description.
401/GNE 481/Rel. 481. The English Bible: Its Literary Aspects and Influences, I. (3). (HU).
The Bible is a book, a text; it is also a collection of texts of the most astonishing variety and range. Our emphasis this term will be on that second characteristic. We will not try to read all the works there collected, but will select examples from the historical books (Torah) the Prophets, and the Writings, from the Gospels, Letters, and the Apocalypse. Our first task will be to try to understand these works both in terms of form and content, and then in terms of the circumstances which gave rise to and shaped them. We will also study how the Bible came to have the form as a whole that it does now, and consider its transmission, both as text, and, more widely, as cultural influence. Students will be encouraged to study especially the literary influence of the Bible in authors of interest to them. Exactly which books of the Bible are read will be determined in part by class need: we shall surely touch on Genesis, Exodus, Job, the Psalms, Proverbs, Ecclesiastes, Isaiah, Hosea, one gospel, the Acts of the Apostles, the Epistle to the Romans, and the Apocalypse. There will be, in all likelihood, three essays of moderate length, a midterm, and a final. Class attendance and lively participation in discussion will be essential. (Williams)
408(309)/Ling. 408. Varieties of English. (3). (Excl).
Languages spread into new territory for a variety of reasons: trade and other economic allurements; colonization and emigration; cultural and religious expansion; military conquest. Designed for undergraduates with a curiosity about how English has become the most widely diffused of the world's languages, our course will begin with a study of general trends in the spread of English and a comparison with prior "world languages." Through a series of case studies (e.g., the Caribbean, several African nations, and India), we will see how the language has been adapted to new circumstances. Through lectures and readings, students will come to develop new insights into the relation of language and culture. We will see how close reading of texts can allow interpretation of them as expressions of individual and cultural aspirations. A willingness to read and to write about our reading is the most important prerequisite for the course. (Bailey)
411. Art of the Film. (3). (HU). May be repeated for credit with department permission.
VIETNAM AND THE ARTIST. A study of efforts by artists, primarily filmmakers, to understand and, in some cases, to prevent recurrence of such events as the war in Vietnam. Films will include: IN THE YEAR OF THE PIG, HEARTS AND MINDS, ASHES AND EMBERS, THE WAR AT HOME, INTERVIEWS WITH MY LAI VETERANS, COMING HOME, THE DEERHUNTER, APOCALYPSE NOW, BREAKER MORANT, JONAH WHO WILL BE 25 IN THE YEAR 2000, THE PASSION OF ANNA, and films made by the South Vietnamese National Liberation Front. Writers will include Denise Levertov, Jonathan Kozol, Philip Caputo, David Rabe, and Susan George. This year we will, using films and readings, also make comparisons to the nuclear arms race and artist and citizen response to it, with some emphasis on civil discussion, both large and small group, and discussion and lecture will focus not only on the works, but also on their implications about personal attitudes and behavior and about social institutions. Final projects may be studies of individual artists, may be studies of large problems raised in the course, or may be relevant works of art or other forms of direct statement and communication about Vietnam and related issues. (Alexander)
412. Major Directors. (3). (HU). May be repeated for credit with department permission.
ORSON WELLES AND STANLEY KUBRICK. We will make a careful analytical study of major films spanning the careers of two maverick American masters. Our focus will be on the cinematic "languages" and the dramatic themes of Orson Welles and Stanley Kubrick, the relationship between what they say and how they say it, their styles, their content, and their contexts. I will post the exact schedule of films outside my office (2627 Haven Hall) before the beginning of the Winter Term. There will be one film per week, two lecture classes, (one of them 2 hours), 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, critical analysis, and aesthetics couldn't hurt. Should film study be new to you, I will be happy to recommend preparatory reading; come see me during Fall Term. 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 (ca. $20). Some reading (Giannetti's UNDERSTANDING MOVIES or an alternate text if that is old news to you) and rigorous writing (2 two-page papers; 1 five-page paper; 1 ten-page paper). Final exam. No incompletes. Illiterates will find no place to hide. Anyone who uses "media" with a singular verb flunks. (Bauland)
417. Senior Seminar. Senior concentrator in English. (3). (Excl).
NOTE: ENGLISH 417 SHOULD BE ELECTED BY SENIOR ENGLISH CONCENTRATORS ONLY. English 417 along with the Core courses meets the Junior-Senior writing requirement for English concentrators ONLY. Please ADD the ECB MODIFICATION for 417 AT CRISP.
Section 001. THE COMIC SHAKESPEARE. This section will take as its subject Shakespearean Comedy. Students will read several of the comedies as preparation for a detailed exploration of the three or four plays that will provide our focus for the term. We shall work to establish a critical context for these plays, reading some standard texts on comedy and on Shakespeare's achievements in the genre. Our reading in Shakespeare criticism will include not merely the established texts but some more recent studies that explore questions of structure and meaning in the plays. Students in this section should anticipate a substantial amount of reading, a strong emphasis on class discussion, one or two required oral reports, and the instructor's insistence on regular class attendance. The chief product of each student's work will be a long paper (ca. 20 pages) due near the end of term. These papers will grow out of the course work but will not be limited by its focus: I shall be encouraging a variety of approaches to the study of Shakespeare and his comedies. Texts will include a one-volume edition of Shakespeare (preferably the Riverside) and one or two critical studies of the plays. (Jensen)
Section 002 – EDMUND SPENSER AND THE ENGENDERING OF THE SUBJECT. Our primary texts will be the major poetic works of Spenser (THE SHEPHEADES CALENDER, COLIN CLOUTS COME HOME AGAINE, the AMORETTI and EPITHALAMION, FOWRE HYMNS, the PROTHALAMION, and THE FAERIE QUEEN) and also his VEUE OF THE PRESENT STATE OF IRELAND. Our concerns will include the politics of the genre; the gendering and engendering of the subject; colonialism, exile, and romantic "error" in the construction of national identity; the status of the poetic icon in an age of iconoclasm; the mimetic imperatives entailed in the ideals of courtliness, "kind"ness, and Christian chivalry; the dialogics of patriarchal power and patriarchal poesis during the reign of the Virgin Queen. Two papers, one oral report. (Gregerson)
Section 003 – THE LANGUAGE OF POETRY: SIGHT, SOUND, SYNTAX, RHYTHM. One of the delights of poetry is its exceptional use of the expressive resources of language. At the same time, however, the linguistic pleasures that poetry provides are often difficult to isolate and describe. Our immediate response to a poem is holistic and synthetic, and we are often more concerned with this synthetic response than its possible linguistic sources. Describing language in an articulate manner is also a fairly specialized activity that demands some technical training; and some effects of poetic language are so complex that their sources continue to elude any adequate description. The aim of this course is to confront some of these difficulties. During the term, we will concern ourselves with four interrelated aspects of poetic language: sight, sound, syntax, and rhythm. Through our readings and discussion, we will examine in a detailed way both the forms that our language makes available in these areas and the range of effects that these forms can achieve in poetic contexts. Many of the issues we will confront are at the center of recent discussions of prosody in the profession: the role of syntax in creating conceptual worlds and controlling temporal experience, the emotive effects of intonation, the nature of free verse prosodies, the expressive possibilities and limitations of visual form, the relation between sound and sense, and the role of meaning in rhythmic articulation. The requirements for the course will be several short analyses (2-3 pages) and one major paper (10-15 pages). Readings will come from a course pack of essays on linguistic and prosodic form. (Cureton)
Section 004 – BROWNING AND THE DRAMATIC MONOLOGUE. What are the special demands, and what the special opportunities, of this fusion of lyric poetry and drama? We will take certain Renaissance poets (notably Donne) as early explorers of the territory that Browning would colonize with a whole gallery of memorable figures. Emphasis will be on Browning's monologues written between 1842 and 1869, beginning with MY DARLING DUCHESS and ending with THE RING AND THE BOOK. Browning's ideas about religion, morality, and artistic creativity, and the place of those ideas in the age in which he lived, will be a subsidiary concern. The first part of the course include oral reports on individual poems and frequent short papers or exercises. 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 005 – SAMUEL BECKETT. Although Beckett is largely known as the author of a landmark play, WAITING FOR GODOT, this seminar will examine his artistic accomplishment as a writer of BOTH drama and fiction. The accent will be placed on the relationships between the two genre as they inform the meaning of his work as a whole. After reading exemplary works selected from Beckett's "classical" period, class sessions as well as writing assignments will be based on the problematic late works for stage and prose. This is a class about problems of genre, close reading, and experimental writing. (Brater)
Section 006 – DEFINING ENGLISH STUDIES. This seminar offers English concentrators an opportunity to think carefully about the academic field in which they are working. Among the issues to be considered are: descriptions and definitions of the liberal arts tradition; the place of English studies within the liberal arts; historical influence upon the development of English studies; canon construction; revision of the canon; and the influence of various critical schools upon the current shape of English studies. Thoughtful reading, intense discussion, and considered writing will be expected. There will be three short papers which will be incorporated into a longer final paper. (Gere)
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 FOR WHOM THE BELL TOLLS (perhaps) 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. 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; there will be a midterm and final exam to pull things together as an overview of the writers and their works. (Eby)
Section 008 – EFFECTIVE PROSE. The primary subject of this seminar will be the prose style of its participants; its secondary subject will be the prose style of a few well-known authors chosen by members of the seminar. In both cases its purpose will be to enable experienced readers and writers to understand sources of effectiveness in prose-that-works, and of ineffectiveness in prose that doesn't. The results of such understanding lead to the intent of this seminar, which is to enable its participants to be writers who serve themselves by becoming editors sufficient to their own needs. (Fader)
Section 009 – SELF-REPRESENTATION IN MODERN LITERATURE. This course will attempt to come to terms with one of the more disturbing facets of modernist literature: its politics. Instead of writers like Pound, Eliot, and Yeats, we will explore an alternative approach, which is to concentrate on changing concepts of individual identity and to explore the political implications of such changes. We will begin in the 19th century with Ibsen, Nietzsche, and Wilde, treating the stories of Henry James as transitional pieces. In the 20th century we will devote a section to the poetry of World War I, and go on to consider works by Joyce, Eliot, Pound, Stevens, Wolfe, and Yeats. Supplemental readings will consist of essays that address the problems of self-representation from a variety of different perspectives, such as those of philosophy, feminism, psychoanalysis, and linguistics. Requirements include an oral presentation, two short papers, one longer paper, and a final examination. (Mahaffey)
Section 010 – CONTEMPORARY LITERARY ISSUES: THE DYNAMICS OF THE LITERARY RESPONSE. The ways in which the authors we read go about creating a reality in their texts will lead members of this seminar to speculate on the following questions: What is the nature of the persona created by the author? How do our insights gained from understanding that persona encourage us to examine our own masks? Moreover, how do our uniquely contemporary masks influence what we call society? Using a parallel approach, we will also explore the dynamics between the imagination and reality, particularly concerning ourselves, with the blurring of distinctions between these concepts. Our readings will be selected from the following contemporary authors: H. Pinter, J. Irving, Toni Morrison, Pat Conroy, Anne Tyler, J. Borges, C. Ozick, Robertson Davies, I. Allende, E. Doctorow, W.B. Yeats, M. Kundera, and J. Fowles. Requirements will include the desire to discuss issues in class, the writing each week of a short response to work discussed – "notes and inquiries" (to be shared with other members of the seminar), and the completion of two longer (10-12 pages) thoughtful essays. (Back)
Section 011 – BLURRED GENRES: NARRATIVE MODES IN FICTION AND OTHER PROSE. Several years have passed since Clifford Geertz coined his label "blurred genres" for our sense that in everything we read, the line between "pure" fiction and such other "fact-oriented" modes of writing as journalism, (auto-)biography, and history is not always discernible in a given work. The goal of this seminar is to articulate some of the questions implicit in the contemporary "blurring of genres." The method will be chiefly inductive – from the reading of texts (articles, essays, books – along with excerpts from those kinds) towards the questions that they raise. Authors will include Mailer, Capote, Hong-Kingston, Orwell. There will be relatively much reading, much writing (infrequent SHORT pieces), much discussion, Infrequent lectures, a group project, and (REQUIRED) participation in a computer conference. (Van't Hul)
Section 012 – FOUR MAJOR FAULKNER NOVELS. This course will treat the backgrounds and genesis of Faulkner's work and then will go on to a close reading of LIGHT IN AUGUST, AS I LAY DYING, THE SOUND AND THE FURY, and GO DOWN, MOSES. Classes will involve both lecture and discussion. The written work will consist of four papers of 2,500-4,000 words, one on each of the novels, on a subject chosen by the student and approved by the instructor. The papers will draw on secondary sources including works on reserve, and they will be written in accordance with the MLA HANDBOOK. Each student will present one paper in class. (Blotner)
Section 013 – 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)
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.
Section 001. See department for course description.
Section 002. Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on short stories selected from the text, and, finally, to come up with approximately fifty (50) pages of reasonably polished fiction. Attendance at the readings sponsored by the English Department is also encouraged. (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, students 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.
An intensive seminar in the writing of poetry, open to graduate students and advanced undergraduates. Admission to the course will be based upon manuscripts submitted at the first class meeting (please bring five poems for consideration by the instructor). Weekly worksheets culled from subsequent student submissions will form the basis for class discussion. No outside texts will be required, but each participant should be prepared to cover some photocopying costs. As a group, we shall work to evolve a generous, supple, stringent, and pragmatic editorial capacity with which we can address the manuscripts that come before us. (Gregerson)
432. The American Novel. (3). (HU).
Is there such a thing as THE American novel? What are its essential traits, its defining features? What thread of continuity runs through the often bewildering variety of themes and preoccupations that characterize American fiction over the past two hundred years? Instead of offering definitive answers to these questions, this course will explore some provisional responses as it traces the evolution of the novel in America from its beginnings in the 19th century to the present day. Some of the authors to be studied include Hawthorne, James, Twain, Dreiser, Willa Cather, Stephen Crane, Hemingway, Faulkner, Richard Wright, and Don DeLillo. I will occasionally supplement our reading with lectures on historical background, though the primary emphasis will be placed on class discussion. Requirements: regular attendance, class participation, three papers, and a final exam. (Larson)
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).
This course will study the Postmodern novel. We will begin with Woolf's MRS. DALLOWAY and selections from Joyce's A PORTRAIT OF THE ARTIST AS A YOUNG MAN to get at some of the elements that characterize the novels of Modernism. Then we will work inductively from a variety of Postmodern novels to see what they have in common that might characterize their own literary period, and how they are essentially different, if indeed they are, from those written earlier in the century. We will spend some time identifying those elements of Postmodern culture that novelists respond to in their work, and judging what effect, if any, the gender of the author has on that response. Toward the end of the course, we will look at some theoretical and critical statements about the nature of Postmodernism to see how they hold up against our own observations. Needless to say, we will explore each novel not only as a product of its time, but as a work of art in its own right. We will read the following works, not necessarily in this order: Garcia-Marquez, ONE HUNDRED YEARS OF SOLITUDE; Lessing, THE GOLDEN NOTEBOOK; Delillo, PLAYERS; Atwood, SURFACING; Borges, FICCIONES; Nabakov, LOLITA; Morrison, TAR BABY; Kundera, THE BOOK OF LAUGHTER AND FORGETTING; and Lurie, FOREIGN AFFAIRS. Class time will be spent primarily on discussion of what we have read. Students write two 5-7 page papers, and take a midterm and final exam. (Maxson)
441. Contemporary Poetry. (3). (HU).
In this course we shall read and discuss remarkable poems written in English from about 1945 to the present. Anthologies and a course pack will provide a survey of the period, but we shall also read individual volumes by a few of the most important voices: most likely Robert Hayden, Robert Lowell, Elizabeth Bishop, Sylvia Plath, Allen Ginsberg, and Seamus Heaney. In addition, Alice Fulton and Richard Tillinghast will visit the class to aid discussion of their books, PALLADIUM and THE KNIFE respectively. In honor of Donald Justice's Hopwood Lecture in April, the course will conclude with a consideration of Justice's SELECTED POEMS. The format is lecture and discussion. Two short papers and one long paper are required, as well as a midterm and a final examination. (Goldstein)
444/Theatre 322. History of Theatre II. (3). (HU).
See Theatre and Drama 322. (Aronson)
448. Contemporary Drama. (3). (HU).
Which are the most vital and significant dramatists to have emerged in the west in the past 40 years? What distinguishes, what connects them? What generalizations can be made about their aims, their moral and social attitudes, their styles, the forms they use, their effectiveness in performance? What are the omens for the future? Among the playwrights we will be examining, as we attempt to answer those and other questions, are Samuel Beckett, Jean Genet, Harold Pinter, Sam Shepard, David Mamet and Caryl Churchill. Among the topics to be pursued are Absurdism, the legacy of Artaud and his Theatre of Cruelty, the relevance of Brecht and his Epic Theatre, the evolution of Naturalistic drama and the "well-made play," theatre language, and the impact on the written script of the director, the performers, and the circumstances of production. Performance in this course will be assessed on the basis of two papers, midterm and final exam. (Nightingale)
449/Theatre 423. American Theatre and Drama. (3). (HU).
See Theatre and Drama 423. (Cohen)
450. Medieval Drama. (3). (HU).
This course invites study of the origins, development and manifestations of drama in England before the time of Shakespeare. It is a period and kind of drama and theatre rich in literary and performance values and offering opportunity for many sorts of question and discovery in the art of the play. We begin with the earliest forms of dramatic gesture and message and go on to study the liturgical, mystery, and morality play, the late medieval interlude, and Tudor plays. We learn about a body of drama and theatre interesting in its own right; in doing so we will see a lot of what helped shape Shakespeare's sense of the way drama might be made and be made to mean. The course amplifies a student's sense of the richness of Shakespeare; it is a good preparation for later drama; it fulfills the concentration requirement of one course in earlier literature. We will proceed by lecture and discussion, the mix depending on class size, and by attempting to work out performance values cooperatively in class, we will attempt to work up a production, or scene performances. There will probably be two relatively short papers, one longer one, one hour exam, one final exam. (McNamara)
457/MARC 457. Renaissance English Literature. (3). (HU).
This course offers a study of Shakespeare as a playwright, a maker of plays. It starts with the assumption that Shakespeare wrote scripts, intended for performance. Drawing upon the disciplines of literary scholarship and criticism, and upon the study of drama in the theatre, we want to explore the implications of this assumption for our understanding of Shakespeare's achievement. We will take three plays for special consideration (probably ROMEO AND JULIET, ALL'S WELL THAT ENDS WELL, and OTHELLO) and draw upon particular segments of other plays as occasion presents and as the resources of the class make possible. The course proceeds through a combination of discussion and scene-work. From an initial focus on conceptual considerations and a study of individual texts, we will move, through scene-work, to the working-out of specific problems of text and theatre. A leading question might be: Can we detect Shakespeare-as-director (not merely Shakespeare-as-writer) in his plays? Grading for the course will involve no written examinations, but will be based upon a combination of journal writing, one shorter and one longer paper. What is required is a thorough and consistent commitment to the work of the course in class meetings. Enrollment limited to twenty; by permission of the instructor. (McNamara)
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)
465/MARC 465. Chaucer: The Canterbury Tales. (3). (HU).
Extensive reading of Chaucer's CANTERBURY TALES is combined with lectures on Chaucer's life, sources and analogues of the tales, courtly love, past Chaucerians and their work, problems of interpretation, and aspects of the manuscript tradition. Everything is read in Middle English and discussed in class. Several short papers and a longer paper for graduate students will be required. The course is an introduction to Chaucer by way of the Tales, but an introduction to Chaucer is an introduction to life, medieval and modern, so that this course is only the beginning of a process of learning. Benson's THE WORKS OF CHAUCER, 3rd edition, is the necessary text. (Garbaty)
472. Twentieth-Century American Literature: Key Texts. (3). (HU).
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 American literary generations and the work they produced. The course will be devoted to 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 (the only non-American), Dos Passos, Hemingway, Fitzgerald, Heller, Burns, March, Mailer, and Vonnegut as well as some of the poets. Lectures and discussion. Two short papers and one long paper will be required. (Aldridge)
473. Topics in American Literature. (3). (HU).
THREE MODERN POETS: POUND, ELIOT & 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 personal 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)
478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (HU).
See CAAS 476. (Awkward)
482. Studies in Individual Authors. (3). (HU). May be repeated for credit with department permission.
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 Dickens the artist, with his realistic representation of this world and with the imaginative understanding which transforms this world into meaning. In order, our novels are OLIVER TWIST, DAVID COPPERFIELD, BLEAK HOUSE, GREAT EXPECTATIONS, OUR MUTUAL FRIEND, and THE MYSTERY OF EDWIN DROOD. That's about 4,000 pages - in Penguin editions, please! I have ordered our books from Shaman Drum Book Store. Get a head start on your reading over vacation. Cliff's Notes are guaranteed to be utterly useless, so give your money to a worthwhile charity instead of wasting it on such offensive junk. At least three short papers, daily scribbles, and a final exam. (If you write six short papers, you are excused from the final exam). Optional evening discussion meetings at my home on Thursdays. (Hornback)
483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.
ELIZABETH BISHOP'S POETRY AND PROSE. Elizabeth Bishop, though she published less than one hundred poems in her lifetime, has emerged as one of the preeminent poets of the late 20th century. In this minicourse, we will read her COMPLETE POEMS and her COLLECTED PROSE, using the collection of writings on her work, ELIZABETH BISHOP AND HER ART, as a source of biographical information and critical insight into her writing. Bishop's poetry is almost impossible to characterize – it is subtle, fresh, unassuming, and distinctly un-"literary." Scholarly and literary-historical background will be largely unnecessary in this course; but students certainly will be challenged to read more closely and with more attention to nuance and detail than they are perhaps accustomed to. Critic David Lehman's description of Bishop will perhaps be helpful to those unfamiliar with her work: "Elizabeth Bishop was not just a good poet but a great one. Bishop accomplished a magical illumination of the ordinary, forcing us to examine our surroundings with the freshness of a friendly alien." No special background is necessary, though a love of poetry and some familiarity with it will help enormously. Not part of an English department sequence. One five page paper and one fifteen page paper required. No exams. Course will be run as a lecture-discussion; regular attendance absolutely necessary. (Tillinghast)
489/Educ. D 440 (School of Education). Teaching of English. See School of Education Bulletin. (3). (HU).
ADMISSION BY OVER-RIDE 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, along with English 496, completes the four-term English Honors Concentration, and may be elected only by students already enrolled in the Program. 496 is taken up with preparation for Comprehensives, tutorial, and the writing of the Honors Essay (there are no class meetings). 495 covers the principal developments in British Literature from the final decades of the 19th century (the Aesthetic Movement, the impact of Symbolism, the tendencies that were the beginnings of Modernism) until World War II. We will read the chief Modernist figures: Yeats, Eliot, Pound, James, Conrad, Lawrence, Joyce, V. Woolf, as well as writers who were contemporary with Modernism but not involved in it: e.g., Hardy. Two bluebooks, an outside paper, all in earlier parts of the term, or timed in such a way as to avoid conflict with the Honors Essay and the Comprehensives. (Barrows)
496. Honors Survey: Thesis and Comprehensive Examination. Admission to the English Honors Program. (3). (Excl).
Section 001. See English 495 for course description.
Section 002 is to be elected by students writing the Alternative English Honors thesis. (McNamara)
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