Courses in English (Division 361)


After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. 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 224 Angell 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).

This is a composition course, not a "Shakespeare" course; our principal concern will be the development of writing skills, though our approach to the writing will be by way of reading and discussing some Shakespearean plays and also some other short texts. If you complete the course successfully you will have satisfied the underclass writing requirement. There will be lectures as well as section meetings.

PRIMARILY FOR FRESHMEN AND SOPHOMORES. Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed. A full course description will be available in 224 Angell Hall after November 16, 1988.

Primarily for Freshmen and Sophomores

Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.

202. What is Literature? (Literary Interpretation). English 125, 167, or 220. (3). (HU).

This course, sponsored as an educational experiment by the Collegiate Council, means to introduce its students to current and competing methods of literary interpretation. We will take a number of controversial works from widely varied eras and places to see what each method can tell us about them and to discover the assumptions and limits of each method. On some occasions, members of the U-M faculty in English who espouse one method or another will visit and subject themselves to a grilling. On a few other occasions, a novelist or poet will visit to discuss one of their works. My job is to help each student experiment with various kinds of critical thinking. Another goal is to bring each student to the point where she or he can deal confidently and variously with a poem or story never seen before. At the end of the course we will consider the ways in which literary criticism can illumine non-literary texts and phenomena restaurant menus, national constitutions, popular media, political behavior and rhetoric. Readings may include novels and tales by Emily Brontë, James Joyce, Franz Kafka, and Ralph Ellison; plays by Shakespeare and Ionesco; poems by Donne, Keats, Dickinson, Whitman, and Brooks. We'll also consider basic statements on method by formalist, Freudian, mythological, feminist, Marxist, biographical, and deconstructionist critics. Class will be conducted by discussion and debate. Students who enroll must be ready to think and argue strenuously, to write frequent shorter essays, and to take risks. This entire course is a risk I'm anxious to take. (Weisbuch)

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 5 to March 10). 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, 224 Angell 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 224 Angell 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 224 Angell 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.

CSP section available. See Comprehensive Studies Program (CSP) section in this guide.

227. Introductory Playwriting. (3). (Excl).

Students will learn the fundamentals of playwriting and play analysis. Focus is given to the development of dialogue, characterization, and plot. Several writing exercises will be assigned, designed to acquaint the students with structure and style. Students will also write several short scenes. Those interested in enrolling should add their name to the waitlist at CRISP. Students should also sign up for interviews with the instructor. The interview appointment sheet will be posted outside 2635 Haven Hall after December 15th.

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. Students should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.

Section 001. This course offers students the chance to read and discuss short stories and novels and to write about them with aim of becoming readers ever more able to appreciate the artistry, humanity, and significance of individual fictions in specific and of fiction in general in our lives. The readings include a wide range of stories selected from an anthology (James H. Pickering, FICTION 100, 4th edition, 1985, Macmillan) and five other books: Kate Chopin, THE AWAKENING (1899), Norton; Sherwood Anderson, WINESBURG, OHIO (1919), Viking; F. Scott Fitzgerald, THE GREAT GATSBY (1925), Scribners; Ralph Ellison, INVISIBLE MAN (1952), Signet; Ursula K. LeGuin, THE LEFT HAND OF DARKNESS (1969), Ace. The written work includes a reading journal and two papers. There will be no quizzes or final examination. The final grade will be based on class participation (20%), the reading journal (20%), and two papers (25% and 35%). There are no prerequisites for the course. (Honors section) (Rabkin)

Section 002. This course provides an introduction to the short story and novel through works (both short and long) by English and American writers in the 19th and 20th centuries. The main emphasis will be on short stories. The members of the class are expected to study each story closely and to develop the ability to read analytically so as to contribute comments to classroom discussion throughout the term. They will be assigned by turns to give one or two short lead-off presentations to start the discussion as well as short summarizing presentations to end the discussion. Question sheets for each work will be provided to facilitate preparation for discussion. The members of the class are expected to submit papers (5-6 pages each, double spaced) based on their understanding of the works covered. They are encouraged to exercise independent thinking, to make comparisons of stories by different authors and to work their own way to some logical and convincing conclusions. Reading materials for the term include some 30 short stories and 4 novels. A course pack of these stories will be prepared for the students, available at Albert's Copying when classes begin. Final grading will be based on 2 papers and 2 exams (25% each). Term average may be upgraded or downgraded, depending on attendance and classroom participation. (Qin)

Section 004. The emphasis in this section will be upon the novel. The instructor believes in the broadening experience, in an age of film and TV substitutes, of the value of an imaginative recreation in the mind of the reader from printed words of a story of some magnitude. We'll read Dickens' GREAT EXPECTATIONS, Dostoevsky's CRIME AND PUNISHMENT (major nineteenth-century novels), then a novel by Toni Morrison, Kate Chopin's THE AWAKENING, and Faulkner's THE SOUND AND THE FURY. We'll read four stories by Chopin, and probably one by Faulkner and one by Hemingway. Two bluebooks, two essays, and a take-home final exam will establish a floor grade. This may be raised (but not lowered) by class participation and frequent quizzes. (Creeth)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001.
The work in the course includes these: (1) reading and rereading of assigned poems; (2) many short "overnight" written paragraphs and exercises based on assigned poems; (3) some short in-class impromptu written pieces; (4) at least one group project; (5) recitation to the class of at least fifty lines of memorized poetry; and (6) regular participation at least twice weekly in a computer course conference. There will be a handful of interruptible lectures during the term; most of the class meeting time will be given to discussion, often in small groups. (Van't Hul)

Section 002. A course in how to understand and enjoy poetry. Poems from all periods of English literature and a few poems from other languages and cultures will suggest literary history and the possible functions of poetry (e.g., story-telling, religious chanting, song and dance, social criticism, self-expression). An array of contemporary examples will indicate the situation of poetry now. Our approach will involve close reading, written analyses, discussion, some memorization, and the acquisition of a technical vocabulary enabling an understanding of poetic meter and form. We shall avoid an intellectual response to poetry which evades feeling, but this will not be a course in "poetry appreciation." Students should want to let themselves become rigorous, subtle, intelligent, alert, responsive readers. Graduates of the course ought to be able to take any poem, read it intelligently (or know what else they need to know to do so), and have a sense of how good it is, why, and for whom. Texts will be Nims', WESTERN WIND and a course pack. (Smith)

Sections 003 AND 013. The purpose of this course will be to generate, refine, and implement strategies for understanding and explicating a wide range of poems. Using the NORTON ANTHOLOGY OF POETRY and various supplemental materials, we will discuss not only the means by which poets communicate their lyric visions of the world but also the ways in which readers produce convincing, heterogeneous, and often conflicting accounts of the same poem. Topics to be addressed will include the characteristic features and types of poems, the rhetorical function of poetry and the role that critical methodologies and cultural assumptions play in the interpretation of poems. Class will be run predominantly as a discussion group and students will be expected to participate regularly. Requirements will include occasional informal assignments, 3 analytical essays, a midterm, and a final examination. (Flint)

Section 004 INTRODUCTION TO POETRY (HONORS) In this course we will read, discuss, and write about English and American poems from the late middle ages through the twentieth century. Our common goal will be to sharpen and refine our critical skills in order to enhance our enjoyment and knowledge of poetry. The course is designed for students in the Honors Program who want to know more about poetry: no prior knowledge is assumed. This is a good course for students not planning to concentrate in English who wish to develop their ability to read poems with pleasure and understanding. You should be ready to participate actively in small discussion groups and in-class discussion. There will be several written exercises, two short papers, a midterm exam, and a final essay exam. (Kushigian)

Section 005. 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 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)

Sections 007 AND 008. This is a course about how to enjoy reading poetry for the rest of your life. While poetry can bring great pleasure, the pleasure comes of hard work: dedicated preparation at home, rigorous discussion in class, and lots of writing. Members of these sections will write short essays (2-3pp) weekly, two longer essays (5-7pp), and a final examination. We shall read a wide variety of poems out of a course pack, poems of every kind from every period, by every kind of author. Prospective students are welcome to discuss the course with the instructor, whose office hours in the Fall Term are Monday 2:30-4:30 and Wednesday 2:30-3:30, 2634 Haven Hall. (Adams)

Section 009. 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 010. 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 011. 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 012. This course is a prerequisite for concentrators in English. Its purpose is to improve one's skill in close reading and appreciating poetry. We will study a variety of poems from the Renaissance to the present, chosen to exemplify poetic modes and techniques as well as various period styles. Class sessions will be devoted to discussion and will rely heavily on active participation: regular attendance, therefore, is mandatory. A number of short papers some in-class will be assigned, and one longer term paper. Some memorization of poems will be encouraged and rewarded. (Beauchamp)

Section 013. See Section 003.

Section 014. We will read poets from the traditional canon as well as those who have been excluded from it, with emphasis upon the former. Our approach will therefore be somewhat historical, and we will probably study most of the following authors: Chaucer, Sidney, Shakespeare, Jonson, Herbert, Donne, Marvell, Milton, Dryden, Pope, Keats, Wordsworth, Browning, Dickinson, Yeats, Moore, Toomer, Pound, and Eliot. Our technique will be CLOSE READING, and there will be heavy emphasis upon various aspects of the poet's craft, such as form, rhyme, and meter. N.B.: Class participation is essential. Those who plan to remain silent should apply elsewhere. Class work: brief weekly writing (graded), a midterm, and a final. Text: THE NORTON ANTHOLOGY OF POETRY. (Stapleton)

245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

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.
This section of 270 will cover anthologized literary works from 1850 to the present and include poetry, drama, fiction, and non-fiction by our major American writers. Participants will be exposed to the breadth of modern American thought and cultural criticism, and become conversant with the American versions of Romanticism, Realism, Naturalism, Surrealism, etc. Discussion based. In-class writings; two short formal papers; final exam. (DePree)

Section 002. This course will survey 19th and 20th century American literature, mostly the fiction. Writers to be studied include: Hawthorne, THE SCARLET LETTER and stories; Melville (stories); Twain, HUCKLEBERRY FINN; Kate Chopin, THE AWAKENING; James, PORTRAIT OF A LADY; Dreiser, SISTER CARRIE; Wharton, THE HOUSE OF MIRTH; Fitzgerald, THE GREAT GATSBY; Hemingway (stories); and Faulkner, GO DOWN, MOSES. Two short (5 page) or one long (10 page) paper will be assigned. There will be a midterm and a final exam. (Beauchamp)

Section 003. One of the major themes in American literature - if not the major theme of American literature is the "Americanization" of members of the various racial, religious, and ethnic groups. In fact, the very first American novel, or the one which was recognized as such by Europeans, Nathaniel Hawthorne's THE SCARLET LETTER, can be viewed not only as a literary masterpiece but a piece of ethnic literature which demonstrates the English Puritans' change and assimilation over a period of time. This section of English 270 will begin with THE SCARLET LETTER, one of the writings from the traditional American canon, and continue with writings by other American voices and talents including women, Chicano, Asian, Black, Native American and white ethnic writers. This combination, I believe, more fully represents "American" or, to be more exact, "United States" literature. We will deal primarily with novels but will also read some short stories and will look at all of them from a literary, cultural and historical perspective. The novels will include books by Frank Waters, Charles Eastman, Ralph Ellison, Edwin O'Conner, Maxine Hong Kingston, Anzia Yezierska, Willa Cather and Harriet Arnow, but this list may change depending upon whether or not the books are in print and easily available. Members of the class will participate in Confer a computer conferencing system to discuss the works. Requirements also include a 6-8 page paper and an essay final. (Kowalski)

280. Thematic Approaches to Literature. (3). (HU).

Section 001 LITERATURE AND MEDICINE. This course will address the relationship between literature and medicine in texts from a variety of cultures and genres. We will examine topics such as the narrative structure of case studies, the use of metaphor in talking about disease, the imaginative function of illness in literature, cultural myths and iconography of disease, representations of the body, and literary responses to major health crises such as bubonic plague, syphilis, cancer, and AIDS. Texts will probably include: Defoe, JOURNAL OF THE PLAGUE YEAR; Mary Shelley, FRANKENSTEIN; Wells, THE ISLAND OF DR. MOREAU; Alice James, DIARY; Nightengale, CASSANDRA; Gilman, "The Yellow Wallpaper"; Olsen, "Tell Me a Riddle"; Ibsen, GHOSTS; Freud, DORA; Chekhov, "Ward Six"; Camus, THE PLAGUE; Lorde, THE CANCER JOURNAL; Sacks, THE MAN WHO MISTOOK HIS WIFE FOR A HAT; Borges, "Funes the Memorious"; and Hoffman, AS IS. (Vrettos)

Section 002 THE WORKS OF WILLIAM SAROYAN. This special one term course will be taught this winter term on the life and writing of William Saroyan, the Armenian-American playwright and novelist. David Calonne, the author of a major study on Saroyan, will be the instructor. The course aims to explore Saroyan's major writings in four genres: fiction, play, novel, and memoir. We will explore his deepest concerns: the search for true being or identity, the place of the Armenian in America, the purpose of art. We will also discuss Saroyan's unique contribution to American prose style and his influence on writers such as Jack Kerouac. Attention will be paid to biography as well as Saroyan's place in the history of Armenian literature and culture. Students will be asked to write various essays on the aspects of our work together and explore in depth individual interests. Works to be read include: THE DARLING MAN ON THE FLYING TRAPEZE, THE BEAUTIFUL PEOPLE, MY HEART'S IN THE HIGHLANDS, THE TIME OF YOUR LIFE, MY NAME IS ARAM, THE HUMAN COMEDY, PLACES WHERE I'VE DONE TIME, DAYS OF LIFE AND DEATH AND ESCAPE TO THE MOON, CHANCE MEETINGS, TRIO (A recent collection of plays on Armenian themes), WILLIAM SAROYAN: MY REAL WORK IS BEING. (Calonne)

Section 003 ON BEING DIFFERENT. How do people find, forge, or defend their sense of identity when they are essentially different in some important way from the environment or society in which they live? They might be of a different class, ethnic group, or cultural heritage; they might be physically different or have a different sexual orientation; they might have a different level of intelligence (either higher or lower) or sanity than others; they might have special insights, talents, or systems of values that make them view the world from a decidedly different perspective. Whether these people view themselves as superior or inferior to the society around them, their differences often separate them from the surrounding majority and force them to define their identity in new ways. In this course, we will study works that deal with this enduring theme over a broad range of time and in a variety of genres. We will look at essays, plays, short stories, fairy tales, novels, poems, and possibly films, from Shakespeare to the present; and we will consider works from among such authors as Jonathan Swift, E.M. Forster, George Orwell, Joyce Carey, William Faulkner, Ralph Ellison, Richard Rodriquez, Toni Morrison, William Kennedy, Marilynne Robinson, Maxine Hong Kingston and others. Class will be primarily discussion, and everyone will be expected to contribute. Students will also keep a journal and write several papers and exams. (Livesay)

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

THE OUTSIDER AND THE SYSTEM. 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 investigation. 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 quality of modern consciousness. We will follow our theme in novels which include: THE PRIME OF MISS JEAN BRODIE, Muriel Spark; LIGHT IN AUGUST, William Faulkner; SULA, Tony Morrison; MRS DALLOWAY, Virginia Woolf; WHITE NOISE, Don DeLillo; in Harold Pinter's drama THE BIRTHDAY PARTY; in short stories by Ernest Hemingway, James Joyce, Franz Kafka, and Philip Roth; and in the work of a variety of contemporary poets. Through their work we will examine not only 20th century philosophical and psychological issues, but the demands such issues place on the techniques through which they are expressed. Despite the numbers, this class will be run as a lecture/discussion, with an emphasis on the latter. Class requirements include regular attendance, two papers, brief written responses to the readings, and a final exam. (Wolk)

Primarily for Juniors and Seniors

301. The Power of Words. (4). (HU).

In all cultures throughout history language has played a critical role in the development and definition of social relations in all realms of human interaction. Language and communication have set the stage for many of the great dramas of human conflict and cooperation that have circumscribed the development of world culture. This course explores Western, Eastern, and African rhetorical traditions in order to compare and contrast these different approaches to communication and social reality. The texts for the course will be: Peter Dixon's RHETORIC; Robert Pirsig's ZEN AND THE ART OF MOTORCYCLE MAINTENANCE; Kwasi Wiredu's PHILOSOPHY AND AN AFRICAN CULTURE; as well as several short handouts. Assignments will consist of three book reviews, three critical essays, one research paper, an oral presentation, and a performance. Grades will be based on assignments and class participation. (McPhail)

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

This course is open only to juniors and seniors who are fulfilling the Junior-Senior writing requirement. The ECB modification must be added at the time of registration. The goals of this course are a) to engage students in books that are enjoyable and instructive and b) to help them learn to write more effectively and with increased pleasure. The books come from a number of different cultural traditions and most are from the twentieth century. The papers will deal with the books' meaning to the student; there is considerable flexibility in the choice of topics. A book and paper will be required about every two weeks. There will be a midterm and final exam. About one-third of the lectures will deal with effective writing. The remainder will explore the meaning of the books. Students will work in pairs to prepare papers for submission. For part of the term students will participate in writing workshops without an instructor. These co-worker and workshop requirements are potentially the most productive parts of the course, but their success depends upon a special kind of commitment and self-discipline. Both word processing and regular participation in a computer-based course conference are required. For students who do not know the CONFER system on MTS, there will be mandatory training at the beginning of the term. The computer conference is an important tool for increasing communication among participants in a large-enrollment class. An extensive course manual is available at the Shaman Drum Bookshop and is required reading during the first week of the term. (Meisler)

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

Where did the English language come from, and what linguistic and other forces helped shape it into the language as we use it today? This course will cover the development of English, from the earliest times when Germanic peoples first settled in Britain, through the language of Chaucer and then Shakespeare, and up into the modern period. The first major theme of the course will be to investigate the internal linguistic history of the language: what sort of language English was at each stage, and what changes it went through. The second major theme will be the external history: the connection between language change and historical events, social structure, and cultural factors such as literacy. This is a lecture course with class discussion. Work will include participation in class discussions, frequent short homework assignments, a midterm, and a final. No college level classes in English language study are prerequisite to this course, but a rudimentary knowledge of modern English grammar, or a willingness to learn something about it in the course of this class is preferable. (Wiegand)

309. American English. (3). (Excl).

The history and present diversity of English in the Americas - the United States, Canada, and the Caribbean reveals the great variety of cultural influences that shape our language. Designed for students with no prior study of the English language, English 309 will explore all three regions of North America with particular attention to the United States especially its regional, social and gender-based dialects (including Black and Hispanic English). In addition to a midterm and final, students will write two short papers and one longer report on a research topic (which may derive from field work studies). (Bailey)

314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.

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. This course meets the pre-1800 requirement for English concentrators. Books: Course pack and Geoffrey Chaucer, THE CANTERBURY TALES, trans. David Wright, World's Classics (O.U.P.), l986, Gottfried von Strassburg, TRISTAN, translation: A.T. Haltz (Penguin Classics), 1987. (McSparran)

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

POETRY BY WOMEN: 1945-1988. In this class, we will examine poetry written by American women over the last forty years. Those who plan to enroll should have some background in the study of poetry. We'll consider if and how cultural, physical, psychological, and economic aspects of gender have affected the poet's work. Is there a woman's tradition in American poetry? If so, what are the characteristics of such a tradition? Having raised this question, I must add that when poets who are women are EXPECTED to write about certain "female" subjects such an expectation or tradition can be more hindrance than enablement. With this in mind, I'd like us to interpret the philosophical, scientific, religious, and satirical aspects of the work and to examine each poet within a wide, unstereotyped context. If we do manage to formulate some notion of a woman's tradition, I hope it will be both new and expansive. Some of the poets we'll consider include Moore, Bishop, Rukeyser, Brooks, Sexton, Kizer, Miles, Swenson. Text: a course pack, and the book SUDDEN HUNGER by visiting poet Debra Bruce. Assignments will include two short papers, an oral presentation, and occasional written exercises. Lecture discussion with the emphasis on discussion. (Fulton)

317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.

Section 001 LITERATURE AND THE LAW. Literature's fascination with the law as an institution and justice as an ethical concept dates back at least to Periclean Athens and transcends generic and cultural boundaries. Modern fiction and drama seem irresistibly drawn to the law, particularly criminal law, as a theme. We will read works that treat the legal process as an object of analytical interest in and of itself, as an example of a procedurally complex but often morally bankrupt society, as a metaphor for the literary process of truth-finding and truth-telling, and even as a testing ground for various propositions of a culture's values. A representative (and manageable) reading list will be chosen from works by some (clearly not all) of the following: Aeschylus, Sophocles, Plato, the Apocrypha, Montaigne, Shakespeare, Melville, Kafka, Schnitzler, Camus, Durrenmatt, Miller, Koestler, R. Shaw, Capote, Mailer, Roth, or several others. We may include the study of a film or two. Had we but world enough and time, the course would also include Dickens and Dostoevsky. Our objective is to study the forms literature can take to come to terms with a theme of ethical content in a social context, and to do so in its own time and place as well as outside those confines. Informal lecture and discussion, quantity of the latter dependent on the class size (and the quality and vitality of the bodies in it). Two papers (5-7 pp.), an in-class essay at midterm, and a final examination. (Bauland)

Section 002 WRITING THE FEMALE BODY: CULTURAL POETICS AND GENDER IN THE ENGLISH RENAISSANCE. Topics will include the masculine poetic career and fetishization of the female body; Elizabeth and the politics of sexuality; Elizabeth and the cult of Mary. We will trace throughout the course the Renaissance translation of erotic paradigms into paradigms of state and religiosity. Authors will include Edmund Spenser, William Shakespeare, John Donne, Andrew Marvell, Thomas Middleton, John Webster. Two papers, in-class quizzes, one exam. This course fulfills the pre-1800 requirement for English concentrators. (Gregerson)

Section 003 BIGOTRY, DAMNATION, 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, Maclean, and Kennedy. Each class will begin with fifteen minutes of writing in response to a question intended as preparation for 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. Science Fiction 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). The written work will revolve around weekly, short papers, two preliminary quizzes, and an objective final exam. Mary Shelley, FRANKENSTEIN, Oxford (1818); Edgar Allen Poe (d. 1849), THE SCIENCE FICTION OF EDGAR ALLEN POE, Penguin, selections; Nathaniel Hawthorn (d. 1864), SELECTED STORIES OF NATHANIEL HAWTHORNE, Fawcett (selections); H. G. Wells, THE TIME MACHINE & THE WAR OF THE WORLDS, Fawcett (1895 & 1898); Eugene Zamiatin, WE, Dutton (1920); Karel Capek, WAR WITH THE NEWTS, Northwestern U Pr (1937); Olaf Stapledon, (LAST AND FIRST MEN &) STAR MAKER, Dover (1937); Ray Bradbury, THE MARTIAN CHRONICLES, Bantam (1946-1950); F. Pohl & C. M. Kornbluth, THE SPACE MERCHANTS, St. Martins (1953); Arthur C. Clarke, CHILDHOOD'S END, Ballantine (1953); Walter M. Miller, Jr., A CANTICLE FOR LEIBOWITZ, Bantam (1959); Robert A Heinlein, THE MOON IS A HARSH MISTRESS, Berkley (1966); Ursula K. LeGuin, THE LEFT HAND OF DARKNESS, Ace (1969); William Gibson, NEUROMANCER, Ace (1984). Supplementary text (recommended but not required): SCIENCE FICTION: HISTORY, SCIENCE, VISION, Robert Scholes and Eric S. Rabkin, Oxford University Press (1977). (Rabkin)

319. Literature and Social Change. (3). (HU). May be repeated for credit with department permission.

LITERATURE AND SOCIAL CHANGE. Reading: Greek, Shakespearean, and "non-political" modern drama to put issues of social change in perspective; Artaud, Boal, Brecht, Growtowski, Kidd, 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, Wednesday, 4:30-6:00 plus extra hours during preregistration. (Alexander)

323. Creative Writing. Junior standing and written permission of instructor. (3). (HU). May be repeated for credit.

Section 001 CREATIVE WRITING AND OTHER ARTS. A course in mixed media composition, especially combinations of poetry, drama, and fiction with graphic arts, painting, music, dance, and photography. Prerequisite: experience with one or more of these art forms and interest in exploring their relations with other forms of art. (Wright)

Section 002 POETRY. A workshop in the writing of poetry: classes involve students sharing their work with each other, giving and receiving constructive criticism. In addition to student poems, we shall discuss poems by established authors, dead and living, with emphasis on the living. For this, a course pack will be available. All students will be expected to acquire soon a critical vocabulary such as will enable intelligent and sensitive analysis. Submission of new writing will be required weekly, as will revision. Writers prone to writing blocks, periods of low energy, ennui, arrogant individualism, or pervasive feelings of vulnerability ought to think twice about taking this course. Final grades will reflect the quality and quantity of finished poetry, weekly completion of various exercises, and constructive participation. Students interested in being admitted to the workshop should leave three to five poems in the Undergraduate Office of the English Department no later than December 10. A class list will be available there by January 8. Students wanting to enroll at the last minute are welcome to submit manuscripts on the first day of class if and only if spaces remain. (Smith)

Section 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)

Section 005 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 006. This will be a workshop in the writing of longish fiction, major stories or the launching of a novella. Subject matter, themes, style are entirely at the student's discretion. Some 1200 words a week quota to be submitted at least every two weeks. Grading on a modified contract system to be explained at the first class. Most class meetings to be devoted to consideration of writing by the class. No exams. Text: John Gardner, THE ART OF FICTION. People interested in enrolling should submit a short sample of their work to the instructor either in his box on the seventh floor of Haven Hall or under his door (7626 Haven) by Friday, December 16. He will post outside his door a list of those accepted on Monday, December 19. Others interested in enrolling might add their names to the waitlist at CRISP and attend the first meeting with a writing sample. (Creeth)

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 224 Angell 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.

329. Practical English. (4). (Excl).

In a workshop, students will cultivate written and spoken forms that have wide practical use in groups: letters, memos, reports, essays, prospectuses, speeches, public drafts, working papers, and more. Much of the work will be collaborative. Although students will compose and revise individually, they will often create specific assignments, edit, and evaluate in groups. This workshop thus reproduces a crucial feature of social and professional life: acts of writing and speaking typically occur in continuing chains of composition, documents, plans of action. Clearly, success in this course requires everyone's commitment to group effort. Students will be expected to focus considerable time and energy on writing, editing, reading, and working together. No exams. Individual grades will be based on a minimum of two speeches, a minimum of twenty-five pages of finished prose, and class participation.

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; 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. Frequent short papers, one longer paper a midterm and final exam. (English)

Section 003. 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 GREEN KNIGHT; Marlowe's DR. FAUSTUS; Shakespeare's OTHELLO (lyrics by Donne and Herbert); Spenser's FAERIE QUEEN (selections); 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)

Section 004 AND 009. We'll be reading some of the best literature in English from the earliest period through the mid-17th century. Texts include "The Wanderer" and SIR GAWAIN AND THE GREEN KNIGHT in translation; Middle English selections from Chaucer's CANTERBURY TALES and from Malory's MORTE D'ARTHUR; poems by Sidney, Shakespeare, Donne, Herbert, Marvell, and Herrick; Jonson's Volpone; and selections from Milton's PARADISE LOST. Themes that surface include the spiritual journey, courtly love, and free will. I'll provide lively historical and cultural background, help with the language, and some ideas for discussion. Requirements: class attendance and participation based on careful reading; several quizzes and/or discussion panels; three short, offbeat essays; a midterm exam and a final exam. Text: THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. I. (Crawford)

Section 005. This course, the first in a series of three core courses designed for concentrators in English, focuses on English literature from the medieval period through Milton. In this section, we shall read selections from medieval drama, SIR GAWAIN AND THE GREEN KNIGHT and THE PEARL, Spenser, three or four renaissance plays, some representative seventeenth-century poets, and Milton. Class sessions will usually blend lecture and discussion. Requirements for the course include regular class attendance and participation in discussions, at least one oral report, timely submission of two essays, and successful completion of a midterm and a final examination. (Jensen)

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. The first of a three-course sequence (required of concentrators but open to non-concentrators) offering intensive study of the masterworks of the canon, Core I concentrates on the literature of the Middle Ages and the Renaissance. We will read Chaucer's CANTERBURY TALES (selections; in Middle English), SIR GAWAIN AND THE GREEN KNIGHT, some medieval plays, Marlowe's DOCTOR FAUSTUS, a selection of Renaissance lyric poetry (e.g., Spenser, Shakespeare, Donne, Marvell), Jonson's VOLPONE, and Milton's PARADISE LOST. I will conduct the class as part informal lecture (particularly when we deal with the context of these works) and part discussion (mostly when we focus on the texts themselves). The quantity of discussion may be dependent on the size of the class, but the quality will depend on the vitality of the bodies in it. Three papers, one in-class essay at midterm, and a final examination. (Bauland)

Section 008. Core I is a survey of Medieval and Renaissance English and we shall divide our time between reading and writing about what we read. We'll read selections from Chaucer's CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, THE SECOND SHEPHERD'S PLAY, selections from Malory's MORTE D'ARTHUR, lyric poetry of the sixteenth- and early seventeenth- centuries, Marlowe's DR. FAUSTUS, Browne's THE URN-BURIAL, most of PARADISE LOST, and FIRE IN THE BUSH by Gerrard Winstanly. Members of this section will write three essays, each of which will come out of a preliminary draft (ungraded) that the instructor and other members in the class criticize in both written comments (graded) and conversation. There will be a final examination. Students should have taken English 240 before electing this course; those who have not will probably find the course hard going. Prospective students are welcome to discuss the course with the instructor, whose office hours in the Fall Term are Monday, 2:30-4:30 and Wednesday, 2:30-3:30, 2634 Haven Hall. (Adams)

Section 009. See Section 004.

356. Core II (Great English and American Books). (4). (HU).
Section 001.
This 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 Wycherley's THE COUNTRY WIFE, Defoe's MOLL FLANDERS; a representative sampling from Pope, Swift, and Rochester; Mary Shelley's FRANKENSTEIN; Brontë's JANE EYRE; and extensive selections from the poetry of Wordsworth and Keats. On the other side of the Atlantic we shall study Hawthorne's tales; THE NARRATIVE OF THE LIFE OF FREDERICK DOUGLASS; short works by Melville; and Whitman's LEAVES OF GRASS. Attention will be given to the historical context within which these authors worked, the literary traditions they initiated, extended, and in some cases parodied, as well as the questions their works continue to pose. Requirements: three mid-sized essays (5 to 7 pages) and a final exam. (Larson)

Section 002. A selection of major writers from the late seventeenth to the mid-nineteenth centuries. Readings will include, in this order: Dryden, ALL FOR LOVE; Wycherly, THE COUNTRY WIFE; Swift, GULLIVER'S TRAVELS; Fielding, JOSEPH ANDREWS; Austen, PRIDE AND PREJUDICE; selected poems by Pope, Wordsworth, and Keats; and Thoreau, WALDEN. Each student will also read an additional work of his or her choice, to be chosen from a list of supplemental texts. There will be two exams, a midterm, and a final. A number of brief, informal papers will be required, and also a term paper. This course will emphasize the close reading of literary texts, with a view to their special situation in larger ideological contexts. Our best classes will be lively discussions punctuated by brief lecturely interludes. (Faller)

Section 004. The reading for this course presents various perspectives on the concerns and uses of English and American literature during the eighteenth and early to mid-nineteenth centuries. Authors to be read will be chosen from this list: Defoe, Pope, Swift, Fielding, Smollett, Sterne, Goldsmith, Austen, Mary Shelley, Blake, Keats, Wordsworth, Douglass, Hawthorne, Melville, Dickens, and Whitman. We will attempt to incorporate their insights into an understanding of the differing sensibilities of different times and different places. There will be opportunity for discussion. There will be a number of short papers of various kinds and a final exam. (Artis, Howes)

357. Core III (Great English and American Books). (4). (HU).

Section 002. In this course we will survey the major authors of the Victorian and early modern period in the United States and England. Of necessity, we must be selective, but by looking carefully at a few authors, I hope that we will be able to learn the ways in which men and women of the past looked at such issues as industrialization, the destruction of the countryside, the loss of religious faith, loneliness, racism, and sexism. We will read works by Charlotte Brontë, Robert Browning, Frederick Douglass, Thomas Hardy, Oscar Wilde, William Butler Yeats, Edith Wharton, Virginia Woolf, Langston Hughes and Zora Neale Hurston. Course requirements will include regular attendance, active participation, 4-5 short papers and a final exam. (Vicinus)

Section 003. 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 generally 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; Eliot's ADAM BEDE; Conrad's HEART OF DARKNESS; Woolf's TO THE LIGHTHOUSE; Faulkner's AS I LAY DYING; Morrison's THE BLUEST EYE; Pynchon's THE CRYING OF LOT 49. Additional readings will include plays by Shaw and Churchill, poetry by R. Browning and C. Rossetti, Eliot and Bishop. There will be two short papers and a final exam, in addition to occasional informal writing. If possible, begin reading JANE EYRE before the first day of class. (Herrmann, Vrettos)

Section 004. This course will attempt to illustrate themes, techniques, and developments in English and American literature since about 1870, concentrating on a relatively small number of authors. The tentative list of authors includes the poets Browning, Tennyson, Arnold, T.S. Eliot, Wallace Stevens, and Auden (peripheral attention also to some of Arnold's and some of Eliot's criticism). Shaw play may be included. Possible novels to be read: George Eliot, MIDDLEMARCH; Hardy, JUDE THE OBSCURE; James, THE AMBASSADORS; Woolf, TO THE LIGHTHOUSE; Fitzgerald, TENDER IS THE NIGHT. Classes will concentrate on a discussion of the readings, only rarely using lectures, which are always informal and interruptible. Three short papers (on subjects students choose), a midterm, and a final examination. (Gindin)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001.
In this course we will try to see some of Shakespeare's "principal plays" in as complete and rounded a form as circumstances allow. We'll try to remember that Shakespeare himself was a poet and a creator of character and a moral philosopher and a practical man of the theatre and, no doubt, much else besides. The number of plays we study cannot firmly be decided in advance, depending as it does on such chronological imponderables as class discussion; but they are likely to include "Romeo and Juliet," "Henry IV, Part I," "Twelfth Night." "Hamlet," "Macbeth," "Othello," "King Lear" and "The Tempest." You will probably be required to see performances of some or all of these works on video, though that will, of course, be no substitute for a conscientious reading of the texts. Other requirements will include two papers and a final test. (Nightingale)

Section 002. A study of Shakespeare's dramatic works, selected to represent his exploration of major genres over the course of his career. Although we will be reading the plays intensively as literary works, we will also be considering social and political issues in Elizabethan and Jacobean England in order to clarify the complex engagement of Shakespeare's stage with cultural controversies of his period. Our goal will not, in other words, be merely to appreciate Shakespeare but to examine the impact of his drama in its own day and to explore its ramifications for ours. The following plays will be studied: "Richard II"; "A Midsummer Night's Dream"; "The Merchant of Venice"; "Measure for Measure"; "Hamlet"; "Othello"; "Macbeth"; "King Lear"; "The Tempest". The edition used for this section will be the RIVERSIDE SHAKESPEARE and will be available at Shaman Drum Bookshop. Due to the expected size of the class, discussion will be difficult at best; students will be expected to be fully prepared for lectures, however, and to contribute ideas as much as possible. There will be a midterm and a final, two essays of moderate length, and occasional pop-quizzes. (Mullaney)

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 may include Behn, Dryden, Swift, Pope, Montague, Addison, Steele, Gay, Congreve, Radcliffe, Fielding, Johnson, Sterne, Burke, Wollstonecraft and Sterne. Discussions, sometimes illustrated with visual 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. (Ellison)

394. Honors Survey: History of Literary Theory. Admission to the English Honors Program. (3). (Excl).

This will be an introductory survey of major developments in literary theory during the past two centuries, with particular emphasis placed on the dramatic, perhaps "revolutionary" changes that have taken place in the past twenty-five years. Major areas of study will include those braches of theory associated with Romanticism, Modernism, New Criticism, Structuralism and Poststructuralism, Marxism, and Feminism. Throughout the course we will be using various branches of literary theory to help us answer basic questions about what and why we read, questions like: What is a literary text? Who or what is an author? What is the proper relationship between literature and criticism/interpretation? Is there a difference between literature and propaganda? Are male readers/writers different from female readers/writers? On what principles was our literary canon established, and should it be revised? Mix of lecture/discussion, but with a strong emphasis on student participation. Four short papers, midterm and final exam. (Kucich)

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)

407. Topics in Language and Literature. (3). (HU).

Section 001 WRITING AND CULTURE. For Winter Term, 1989, this course is jointly offered with Linguistics 492. (Hamp-Lyons)

411. Art of the Film. (3). (HU). May be repeated for credit with department permission.

Section 001 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: Hearts and Minds, Platoon, Coming Home, Breaker Morant, Ashes and Embers, The Deerhunter, Basic Training, The War at Home, Jonah Who Will be 25 in the Year 2000, and films made by the South Vietnamese National Liberation Front. Texts will include: Levertov's FREEING OF THE DUST; Kozol's THE NIGHT IS DARK AND I AM FAR FROM HOME; Terry's BLOODS; Rabe's STREAMERS; Brownmiller's AGAINST OUR WILL. Discussion, both large and small group, 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)

Section 002 FROM FICTION TO FILM. Many film classics from "Gone With the Wind" to "Kiss of the Spider Woman" - are based on works of literature. This course investigates the dynamics of cinematic adaptation in order to discover how film develops such literary resources as point of view, plot, symbolism, and interior monologue. Each week we will read a play, short story or novel and view a film based on that work. We will see a wide range of movies (old, new, foreign, American) including: The Shout, Blow-up, The Servant, The Decameron, The Fallen Idol, The Loneliness of the Long-Distance Runner, Black Orpheus, Macbeth, Rear Window and, The Throne of Blood. Students will write short (1 page) essays on most of the films, a longer essay on a single film, and will have the opportunity to write an original filmscript. There are no prerequisites, no exams, and no incompletes. Text: MADE INTO MOVIES: FROM LITERATURE TO FILM, by Stuart McDougal. (McDougal)

417. Senior Seminar. Senior concentrator in English. May not be repeated for credit. (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 DEFOE'S ENGLAND. As much as any English author, Daniel Defoe wrote what public interest demanded. His work, however, seems pro-active as often as it does reactive. Whether the topic is slavery, trade, crime, or the English monarchy, Defoe's voice is rarely far removed from renewed or initial public discussion of it. We will read Defoe's major fiction (ROBINSON CRUSOE, MOLL FLANDERS, CAPTAIN SINGLETON, and other works) and some of his treatises (the TOUR, "The Shortest Way with Dissenters" and journalistic pieces among them) to examine the pompous and low-born, fantastic and shockingly real characteristics and allurements of early eighteenth-century English life. (Artis)

Section 002 THE USES OF DIVERSITY. The title of this course is borrowed from an essay by the anthropologist Clifford Geertz, who asks in the essay how we apprehend "the other" - those whose cultures are different from ours and what human uses we make of such apprehensions. The course will be organized to explore these questions through reading of imaginative literature of various kinds and of theory from various disciplines. Authors to be read will include Chinua Achebe, Joseph Conrad, Louise Erdrich, Richard Ford, Maxine Hong Kingston, Toni Morrison, Leslie Silko, James Welch; theorists to be read will come from the fields of anthropology, educational philosophy, history, language philosophy, psychology, and socio-linguistics. There will be a course pack of theoretical readings. The course will be conducted as a seminar with students expected to be active participants in small group and whole class discussions. Required assignments will include frequent short papers, equally frequent oral reports, an extended seminar paper on a topic of the student's own choosing, an oral report on that topic, and a take-home final examination. (Robinson)

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. However, these linguistic pleasures are often difficult to isolate and describe. Our immediate response to a poem is holistic and synthetic, and we are often more concerned with the nature of this synthetic response than with its possible sources in language. Describing language in an articulate manner is also a fairly specialized activity that requires some technical training. To describe the language of a poem, we must first know something about language in general: its characteristic forms, structures, and expressive functions. The aim of this course is to confront some of these difficulties. During the term, we will concern ourselves with four aspects of poetic language: sight, sound, syntax, and rhythm. Through our readings and discussions, we will look at both the semantic and perceptual forms our language makes available in these areas and the range of effects these forms can achieve in poetic contexts. Many of the topics we will consider are at the center of recent discussions of prosody in the profession: the relation between syntactic structures and conceptual worlds, the contribution of intonation and meaning to rhythmic form, the nature of visual and free verse prosodies, the articulatory and phonetic motivations for expressive uses of sound, and so forth. 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 005 FACT AND FICTION: THE BLURRING OF GENRES. From one to another undergraduate course in English, it usually "goes without saying" that a given literary work is a tragedy, not a comedy; or is fiction, not history, is poetry or a poem or a sonnet, not prose or a novel or a short story; is the script of a play, not a transcript, and so on. Or, for a handful of exceptional works, we invent hybrid labels like "tragi-comedy" and "historical novel" and "docu-drama" and "the short" or "the (very) long short story" and even "poetical prose" and the "prose poem." Or have the claims of the first paragraph become obsolete in our time? Does it "really matter" to us that an autobiography may include both fictitious characters and historical person, that a gripping movie may or may not be "based on" lived life? Should it matter? And what does it mean for any movie or literary work to be "based on" anything at all? The idea of this seminar is to ask how the meaning of a literary work relates to our conception of its kind or how our name for its kind relates to our conception of its meaning. The method in the course will be inductive, designed to refine the tired old questions in discussing assigned essays and excerpts and then book-length works of fiction (or is it biography? or history?). NOTE: Regular participation at least twice weekly in a computer course conference is an unwaivable requirement for credit in the course. (Van't Hul)

Section 006 SENIOR SEMINAR: EIGHTEENTH CENTURY LITERATURE AND THE FAMILY. This seminar will consider the social, political and economic structure of the family in eighteenth-century British literature and history. Drawing on novels, poetry, drama and essays, we will examine eighteenth-century attitudes towards marriage and domestic conduct, sexuality, property laws, childbirth, child rearing and domestic discipline. We will also consider the tension between individual identity and familial values and the simultaneous development of the nuclear family and the novel. Authors may include Defoe, Richardson, Pope, Goldsmith, Congreve, Behn, Johnson, Austen and Locke. Students will write a short seminar paper (3-5 pages), a longer research paper (10-15 pages) and will present one or two oral reports. This section of 417 fulfills the pre-1800 requirement for English concentrators as well as the Senior Seminar requirement. (Flint)

Section 007 WOMEN AND POPULAR CULTURE. This course will examine the construction of the female subject in various forms of popular culture. Its premise is that learning to "read" popular culture is as important as, if not more so, than other forms of literary and/or high culture, since these forms are more widely disseminated and often assume a specifically female audience. Primary areas of focus will include the body, desire and gender relations as represented in advertisements, popular fiction, television and film. In addition to examining examples of these genres as they produce and are produced by women, we will read a wide array of critical and theoretical texts. These will include: Berger's WAYS OF SEEING; Rosalind Coward's FEMALE DESIRE; Judith Williamson's DECODING ADVERTISEMENT; Annette Kuhn's WOMEN'S PICTURE; Ann Kaplan's ROCKING AROUND THE CLOCK; Janet Radway's READING THE ROMANCE. Requirements include several short papers and an oral presentation. (Herrmann)

Section 008 STUART TRAGEDY. Thematically, the tragedies of the early 17th century constitute perhaps the darkest moment in the history of English drama: rape, incest, fetishism and mutilation, political intrigue, sexual obsession, and bloody revenge are their chronic matter. We will consider twelve plays from the Stuart period: BUSSY D'AMBOIS, THE MALCONTENT, THE DUTCH COURTESAN, THE REVENGER'S TRAGEDY, TIS PITY SHE'S A WHORE, THE BROKEN HEART, A WOMAN KILLED WITH KINDNESS, THE DUCHESS OF MALFI, THE WHITE DEVIL, THE CHANGELING, WOMEN BEWARE WOMEN, OTHELLO, and one from the very late Tudor period (TITUS ANDRONICUS) in an effort to trace the cultural, political and aesthetic tensions that constitute the Stuart tragic drama. Two papers, one oral report, and regular contributions to seminar discussions. This course also fulfills the pre-1800 requirement for English concentrators. (Gregerson)

Section 009 POSTMODERNIST FICTION: THEORY AND PRACTICE. This course will be divided into two halves. In the first we will read and discuss some examples of contemporary (post-1960) English-language fiction (there is one exception in the list below). Some of these texts have been located in a tradition of "magic" or "fantasy realism," but our concern will be with the extent to which they are EITHER (a) generally agreed to be postmodernist, OR (b) rather thought of as experimental while written from a feminist or minority perspective. In the second part we will test what we have read against some recent models of postmodernist fiction, concentrating on problems of the representation of individual, racial, or national history in fictional form; and of whether we can speak of postmodernist fiction in terms of the literature of a given nation or grouping, or whether the global nature of the postmodernist undertaking interferes with or prevents this possibility. Some of the secondary works may be ordered, but most will be available in a course pack. Primary texts: SABBATICAL, John Barth; NIGHTS AT THE CIRCUS, Angela Carter; LANARK, Alasdair Gray; CHRONICLE OF A DEATH FORETOLD, Gabriel Garcia Marquez; BELOVED, Toni Morrison; PALE FIRE, Vladimir Nabokov; SHAME, Salman Rushdie; THE CRYING OF LOT 49, Pyncheon. This list can be supplemented if so desired. All texts will be ordered from Shaman Drum. Requirements: a willingness to prepare in such a way as to be able to discuss actively; more formal requirements to be discussed when the course begins, but will include a long term paper. (Todd)

Section 010 CONTEMPORARY INTELLECTUAL ISSUES: THE DYNAMICS OF THE LITERARY RESPONSE. Theme: Variations of the mask. 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 persons 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: S. Beckett, J. Irving, Toni Morrison, Pat Conroy, Anne Tyler, J. Borges, Gloria Naylor, I. Allende, Michael Darris, W.B. Yeats, M. Kundera, Wallace Stegner, William Kennedy, and J. Okada. 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 pp.) thoughtful essays. The last class session will be a three-hour evening session in which we will watch some short video tapes, listen to the music, and discuss the libretto of PHANTOM OF THE OPERA. (Back)

Section 011 MARGARET LAURENCE AND THE ALIEN HEART. Margaret Laurence (1926-87) is one of the foremost Canadian fiction writers. Her major fiction divides readily into two groups: (1) the African writing (one result of her having lived in Somalia and Ghana 1950-57), a collection of short stories called THE TOMORROW TAMER (1963) and a novel call THIS SIDE JORDAN (1961); (2) the Manawaka Saga, five novels set on her own postage stamp of native soil, southern Manitoba (like Faulkner's YOKNAPATAWPHA SAGA), THE STONE ANGEL (1964); A JEST OF GOD (1966; the film version by Joanne Woodward and Paul Newman, RACHEL, RACHEL, 1967); THE FIRE DWELLERS (1969); A BIRD IN THE HOUSE (1970); and THE DIVINERS (1974). The fiction is concerned with the plight of the alien and the related problem of individual identity and integrity. We will supplement the list of fiction with two or three of her autobiographical essays. Requirements include oral reports, short written exercises, and a substantial seminar paper. This seminar will give students the opportunity to exercise the critical (and scholarly) expertise they have developed during undergraduate years and to display the flair for originality that has been fostered in those years. The ability to appreciate seriously entertaining fiction is a prerequisite tacitly assumed. (Powers)

Section 012 WILLIAM BLAKE'S ILLUMINATED WORKS. This seminar studies the verbal/visual arts of William Blake's illuminated books, together with some of his other writings and pictorial works. The principal illuminated books to be studied are SONGS OF INNOCENCE AND OF EXPERIENCE, THE MARRIAGE OF HEAVEN AND HELL, and THE BOOK OF URIZEN. Written work includes classroom reports and longer paper. (Wright)

Section 013 FICTION INTO FILM. This course will compare narrative texts with film adaptations to determine how each medium shapes and determines what can be done in telling a story. No technical knowledge of film is required but attendance at the showing of the films and discussions of texts and films is crucial. In order to allow time for viewing the films, the class will meet four hours per week and may occasionally require another hour on one of the days. There will be frequent writing, some of it in a journal, and a final exam. Films will be chosen from this list: Beauty and the Beast; The Company of Wolves; Rashomon; Frankenstein; A Clockwork Orange; Oliver Twist; The Grapes of Wrath; Apocalyspe Now; Women in Love; The African Queen; The Old Man and the Sea; A Passage to India; Joseph Andrews; Kiss of the Spiderwoman; Pride and Prejudice. (Howes)

Section 014. MERCHANDIZING THE SELF: THE CULTURE OF CONSUMPTION IN AMERICAN FICTION, 1880-1925. Toward the end of the 19th century commercial interests in America underwent a dramatic shift in character. Not merely engaged in the production of goods for the marketplace, industry devoted itself more than ever before to the creation of new needs and new desires. With the emergence of mass advertising, department stores, national chains, and brand-name goods, an economy based upon selling and consumption came into prominence, as did a distinctively new social type, the consumer. American novelists of the period eyed this creature with an intriguing blend of fascination and distrust, and it is their complex, often disturbing evocation of the individual in a consumer culture that we shall explore in this course. Authors to be considered will include: W.D. Howells, THE ARISE OF SILAS LAPHAM; Charlotte Perkins Gilman, WOMEN AND ECONOMICS; THE YELLOW WALLPAPER; Theodore Dreiser, SISTER CARRIE; Edith Wharton, THE HOUSE OF MIRTH; Frank Norris, MCTEAGUE; L. Frank Baum, THE WONDERFUL WIZARD OF OZ; Mark Twain, A CONNECTICUT YANKEE IN KING ARTHUR'S COURT; F. Scott Fitzgerald, THE GREAT GATSBY; Finally, we shall round off the term by looking at a more recent novel, Don DeLillo's WHITE NOISE, for contemporary attitudes toward the figure of the consumer. Requirements: attendance, a series of short, three-page papers, and a longer essay at the end of the term. (Larson)

Section 015. ROBERT FROST AND EDWIN ARLINGTON ROBINSON. We will spend three-quarters of our time on the poetry (and some prose) of Robert Frost, one-quarter of our time on Robinson. Four short papers, and an hour exam late in the term, no final exam. Weekly memorizations required. Absence from class will affect grade. (Clark)

423. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU). May be repeated for credit.
Section 001.
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)

Section 002 FICTION WORKSHOP. This course is an advanced fiction writing workshop. This workshop is for students who bear a serious commitment to fiction writing. The writing experience and the elements of narrative technique will be explored. The course finds its focus in the generation and discussion of new work by workshop students. Admission is by consent of the instructor. (Belton)

425. Advanced Essay Writing. Open only to seniors and graduate students. (3). (HU).

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

427. Playwriting. Permission of instructor. (3). (HU). May be repeated for credit.

Serious students of dramatic writing will be required to complete two one-act plays or one full-length play. Each play will be discussed individually in relation to passion (personal commitment to the material), honesty, structure, action, character development and dialogue. Students will be required to hand in 10-15 pages of new material or rewrites each week. If there are any writing exercises assigned, they will be in direct relationship to the material being created and they will be tailored to the problems which the individual student has with her/his work. Students are expected to discuss each other's work in class. Submitted work will be read either by assigned actors from the Drama Department or other students in the class. Admission to the course will be based on submitted samples of dramatic writing (10-20 pages or a completed play) and a one page statement detailing the student's life history and reason for wanting to take this course. The samples and statement must be submitted to the English Department main office, 7611 Haven Hall, no later than noon on Friday, January 6. (Gordon)

429. The Writing of Poetry. Written permission of instructor is required. (3). (HU). May be repeated for credit.

This course is a poetry-writing workshop. Students will circulate and discuss some poems written during the term, as well as analyze a selection of poetry and criticism by eminent contemporary poets. We shall use Donald Hall's anthology, CLAIMS FOR POETRY, as our central text. Students should be prepared to devote considerable time to composition and revision, and to extensive commentary on their fellow students' writing. Each student will keep a journal of readings, ruminations, and materials for poems. Some experience in creative writing courses is desirable, though not essential. Permission of the instructor is required. Leave a sample manuscript of 3-5 pages in Professor Goldstein's mailbox in the English Department office by December 2. A class list will be posted on the door of 1617 Haven Hall after December 9. (Goldstein)

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

Texts are: Twain, TOM SAWYER and HUCKLEBERRY FINN; K. Chopin, THE AWAKENING; S. Anderson, WINESBURG, OHIO; Toomer, CANE; Hemingway, IN OUR TIME; Faulkner, LIGHT IN AUGUST; J. Baldwin, ANOTHER COUNTRY; T. Wilder, THEOPHILUS NORTH; M. Laurence, THE DIVINERS. Hemingway once said that American literature begins with Twain's HUCKLEBERRY FINN; there Huck says we don't know him unless we have read TOM SAWYER. We begin by looking at those two novels, as though heeding the advice implicit and explicit listed above. The selections cover about a century of novel writing in English in America. They are about typical American concerns the plight of the alien existence, the place of minorities, racial and social discrimination, and the struggle for individual identity as though conscious of the admonition to love one's neighbor as oneself, and aware of the difficulty in doing so. These works provide an interesting illustration of a variety of approaches to narration how to tell a story including the management of time, of simultaneity, of credibility, of entertainment. Students will write a couple of short exercises and two or three longer essays, and there may be a final examination. The conduct of the course will depend on lectures and discussion. (Powers)

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

In selecting texts that are for the most part fairly short (not many on the list are more than 200 pages long), I have chosen to concentrate on as wide a range of modernist writing as possible. These examples of the modern novel in Europe and North America cover the period 1880-1940, with the exception of the Dostoevsky, which we will use to explore something of the "modernity" of the period. LE GRAND MEAULNES (THE LOST DOMAIN), Alain-Fournier; UNDER WESTERN EYES, Conrad; NOTES FROM UNDERGROUND, Dostoevsky; LIGHT IN AUGUST, Faulkner; THE GOOD SOLDIER, Ford; HOWARD'S END, Forster; THE SPOILS OF POYNTON, James; PORTRAIT OF THE ARTIST AS A YOUNG MAN, Joyce; ST MAWR, Lawrence; THE YOUNG TORLESS, Musil; MAURICE GUEST, H. H. Richardson; BETWEEN THE ACTS, Wool. This list is not so definitive that it cannot be finalized according to the interests of intending participants, and possible availability of texts. Most titles (given above in alphabetical order of authorship, not chronologically) should be available in Penguin, the exception being MAURICE GUEST which is published by Virago. They will be ordered from Shaman Drum. A useful survey is MODERNISM, Malcolm Bradbury and James McFarlane, eds., (Penguin, 1976). Other secondary material will be indicated as we proceed, and may be made available in course pack form. Requirements: two papers (max. 10 pp. each); a final written examination; and above all a willingness to prepare in such a way as to be able to discuss actively. (Todd)

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: Woolf, MRS. DALLOWAY; Garcia-Marquez, ONE HUNDRED YEARS OF SOLITUDE; Lessing, THE GOOD TERRORIST; DeLillo, PLAYERS; Atwood, THE HANDMAID'S TALE; Borges, FICCIONES; Nabokov, LOLITA; Morrison, THE BLUEST EYE; Naylor, LINDEN HILLS; Lyotard, THE POSTMODERN CONDITION. Class time will be spent primarily on discussion of what we have read. Students will write two 5-7 page papers, and take a midterm and a final exam. (Maxson)

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

A study of six American poets whose careers span the period between the end of World War II and the present: Elizabeth Bishop, Robert Lowell, Galway Kinnell, Gary Snyder, Sylvia Plath, and Allen Ginsberg. Plath, Lowell, and Ginsberg represent in widely different ways the autobiographical poetry of extremism and personal violence and madness that has characterized contemporary poetry. Kinnell's poetry represents the survival of Romanticism in our age, a devotion to the things and creatures of this world, an interest in the "deep image" as a way of illuminating the inner life. Snyder figures as a spokesman for the ecological balance of the natural world, for the values of the "counterculture" and the influence of Oriental ideas on American culture. Bishop, perhaps the transcendent "pure poet" of our age, defies brief characterization. English 240 provides a good background, and a course in Modern Poetry an excellent background for this course. A midterm and a final exam as well as two papers, one short and one long, will provide the basis for evaluation. The class will be taught as a lecture/discussion class. (Tillinghast)

444/Theatre 322. History of Theatre II. (3). (HU).

See Theatre 322. (Aronson)

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

A course surveying major world dramatists and plays from 1950 to the present. Through our readings we will explore the remarkable proliferation of forms and styles as the dramatists of the last 40 years seek to reconceive the stage and its aesthetic, political, and social possibilities. Topics will include: revisions of realism; absurdism in subject and form; theatrical conceptions of the body; narrative, myth, and ritual; violence and the stage; responses to film and television; gender and race in theatrical representation; audience confrontation; the critique of language; political theater; stage imagery and the manipulation of stage space; performance and the dramatic text. We will read the following dramatists: Beckett, Ionesco, Durrenmatt, Weiss, Handke, Fugard, Bond Stoppard, Pinter, Soyinka, Fo, Churchill, Fornes, and Shepard. Textbooks have been ordered through Shaman Drum Bookstore. (Garner)

449/Theatre 423. American Theatre and Drama. (3). (HU).

See Theatre 423. (Cohen)

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

Chaucer and some of his contemporaries wrote a lot of poetry that still stands on its own today; SIR GAWAIN AND THE GREEN NIGHT, PEARL, and TROILUS AND CRISEYDE, for example. These are also poems in which the poets examine the values and literary types that came down to them. We will start the course reading with these three poems, then we will go back to some earlier French and English works, love lyrics and romances on the one hand and religious writings on the other, both for their intrinsic interest and as background to the central three poems to which we will return near the end of the course. We will finish with Malory's MORTE D'ARTHUR. This course satisfies the departmental requirement for a course in literature before 1800. It will be a discussion course. There will be in-class exercises, two hour exams, perhaps a paper, and a final exam at the scheduled time. (Lenaghan)

457/MARC 457. Renaissance English Literature. (3). (HU).

17TH CENTURY POETRY TO THE RESTORATION. Leaving out Milton and those poets who wrote chiefly with Spenser as their model, we'll concentrate on two main seventeenth-century traditions: in the "first generation," DONNE and JONSON; in the second, HERBERT, MERRICK, and Carew; then Suckling, Lovelace, Crashaw, Vaughan, Trahern, and MARVELL. (Names in upper case letters will receive principle emphasis.) One continuing theme will be the confluence of the two traditions in poets such as Carew and Marvell; another, the relation of the poetry to seventeenth-century developments in science, religion, and politics. Mostly discussion, occasional lecturing; oral presentations by student panels. Frequent short papers, one longer paper, a midterm, and a final exam. (English)

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)

461. English Romantic Literature. (3). (HU).

This course in English Romantic Poetry will focus on Blake, Wordsworth, Shelley and Keats. It will inquire into some of the major issues raised in their poems and criticism the social role of the poet, the nature of language, the nature of the creative imagination. It will attempt to see Romanticism in its historical context and in its relation to modernism. There will be some lecturing but more often a discussion of the reading. Two papers and a final examination. (Schulze)

472. Twentieth-Century American Literature: Key Texts. (3). (HU).

MYTH AND AMERICAN COMMUNITY. Joseph Campbell has called myth the secret opening through which the inexhaustible energies of the universe pour into human cultural manifestation. Dreams are private myths. Myths are public dreams. Perhaps the most complex and compelling of dreams is the American Dream. The American novel provides a powerful means for reading the symbols, values and obsessions of our culture. The course considers a range of novels that replicate the American story and play out the power of American imagery and ideals. The course traces the idea of an American community, itself an extravagant and engaging myth, and explores the pathos of the American imagination. Exemplary texts include novels by Faulkner, Lewis, Morrison, Erdrich and many others. Class participation and regular attendance are absolutely required. Papers are due at midterm and at the term's end. (Belton)

473. Topics in American Literature. (3). (HU).

Section 001 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)

Section 002 NORTH AND SOUTH AMERICAN LITERATURE. A study of themes common to both United States and Spanish-American literature. The course will identify common cultural dilemmas and opportunities in the Americas and examine how Spanish-American writers have honored the literature if not the political power of the United Sates. Topics include: (1) Faulkner and Garcia-Marquez, as creators of imaginary fictional countries with real histories, dynasties, and family atmospheres; (2) Borges and Poe as elaborate provincial artificers, would-be Europeans in an American setting; (3) Neruda and Whitman as poets of the vast American landscape and of American sensuality and fraternity; (4) Arguedas and McNickle, two writers concerned with the cultural oppression of Indians and their surviving imagination; and (5) popular arts films, music, soap operas - as a basis for the new Latin novel and a means to a common idiom, with differences, in North and South America. Historical background will be provided when it seems called for. A reading knowledge of Spanish is desirable but not necessary. Students will be asked to contribute to discussions, keep a journal, and write a major paper. (McIntosh)

482. Studies in Individual Authors. (3). (HU). May be repeated for credit with department permission.

Section 001 DICKENS. Wilkins Micawber, that famous man of letters, wrote to David Copperfield, "Go on, my dear sir, in your eagle course!.... We watch it with delight, with entertainment, with instruction." We will undertake to follow Charles Dickens' "eagle course" through six major novels, and will expect to read "with delight, with entertainment, with instruction." We will read each novel closely and carefully, exploring such themes as alienation and orphanage, education, the function of knowing and the role of the imagination, the meaning of work, and the philosophical significance of happiness. We will be concerned with Dickens the social critic and 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)

Section 002. This course will study the writing of Virginia Woolf. We will read several of her novels and essays, her memoirs, and parts of her diary to get at the characteristic themes, artistic concerns, techniques, and literary effects of her work. We will be guided in part by Toril Moi's sense of "the radically deconstructed character of Woolf's texts," studying the fruitful inconsistencies of her language, logic, and vision. We will study too her own theoretical pronouncements on writing, considering them both as guides to her work and as artistic texts in themselves. We will read two biographies of Woolf, one traditional in approach, one feminist, analyzing them in terms of her own ideas about biography. Texts will include: NIGHT AND DAY; MRS. DALLOWAY; TO THE LIGHTHOUSE; ORLANDO; A ROOM OF ONE'S OWN; THE WAVES; THREE GUINEAS; BETWEEN THE ACTS; GRANITE AND RAINBOW; MOMENTS OF BEING; A WRITER'S DIARY; Quentin Bell's VIRGINIA WOOLF: A BIOGRAPHY; Phyllis Rose's WOMAN OF LETTERS: A LIFE OF VIRGINIA WOOLF. Students will write two 5-7 page papers and take a final exam. (Maxson)

Section 003 RICHARD WRIGHT (1908-1960). Writer, activist and intellectual, Richard Wright was born in Mississippi in 1908 and reared in poverty by his invalid mother. Impeded by racism, Wright left for Chicago in 1927 where he began his career as a writer and activist. Wright's two concerns, the development of cultural vision that would effectively record the ambivalent realities of the Black experience and the search for ideology that could guide Black social and political action, became the quests of his life. The extraordinary success of his first two major works, NATIVE SON (1940) and BLACK BOY (1945) established Wright as the greatest Black novelist of the 20th century. Dead at 52, Richard Wright left a body of published work that consists of five novels, two autobiographies, two short story collections, and five major non-fiction works. We will read Wright's major texts, first tracing his origins in the naturalist school of fiction, the presence of both Marxist and Black nationalist consciousness in his works, his later absorption of Freudian and existentialist thought, his treatment of the psycho-sexual dynamics of racism. We will study Wright's vision of alienation, the role of violence in achieving liberation, his sense of group man and spontaneous rebellion and of tragedy deriving from the absurd contradictions of racism. His style will be reviewed: symbols, scene, irony, and the intense, at times near-hallucinatory realism with which his works are crafted. Attention will also be paid to his major non-fiction works, as they treat these themes. Discussion, two short papers and a research paper comprise the student work for this course. (Chrisman)

This class will be taught by Visiting Professor Robert Chrisman, editor of the journal BLACK SCHOLAR.

483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.

Section 001 SHAKESPEARE'S SONNETS. A long, close look at a private masterwork not often taught in Shakespeare courses or in Renaissance surveys. Lectures will offer some necessary background in Shakespeare's language, culture, and biography, in the history of the sonnet, and in the variety of critical approaches that have been used to try to understand this controversial work. Discussions will focus mostly on close textual analysis. Text: SHAKESPEARE'S SONNETS, ed. Stephen Booth. For this one-credit course, students will be expected to write one short paper, to memorize at least two sonnets, to complete several analytical exercises, and to attend class. Also required will be an acquired familiarity with the SONNETS: the final exam will involve identifying and explaining short quotations. The course is designed for those willing to read and reread. A solid background in the history of poetry would be very useful but is not at all necessary. The only prerequisite is a capacity to understand and enjoy poetry. (Smith)

Section 002 This section of English 483 will be focused on satiric fiction of the twentieth-century. The reading list will include such works as: DECLINE AND FALL (Waugh); NINETEEN-EIGHTY-FOUR (Orwell); THE CRYING OF LOT 49 (Pynchon); MUMBO-JUMBO (Ishmeel Reed); THE PROPHETEERS (Max Appel); and perhaps one additional short novel. Classes (four three-hour sessions) will include lecture, discussion, and student reports. Requirements include regular class attendance and participation in discussions, an oral report, a brief essay, and a one-hour examination. (Jensen)

489/Educ. D 440 (School of Education). Teaching of English. See School of Education Bulletin. (3). (HU).

ADMISSION BY OVER-RIDE ONLY. This cross-listed course is the methods course required of English concentrators who seek certification. Enrollment in Education 307 is concurrent. (Stock)

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.
This course is restricted to students in the English Department's Honors Program and Alternate Honors Program. English 496 is used for the combination of thesis and comprehensive exam in Honors and for the thesis in Alternate Honors. (Garbaty)

Section 002. This course is to be elected by students writing a thesis in The Alternate Honors Program this term. (Creeth)

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