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 selected Shakespearean plays. If you complete the course successfully you will have satisfied the underclass writing requirement. There will be a one time mandatory lecture for all sections on Monday, January 22, 7: 30-9: 30 PM. Discussion sections will meet the first week of classes.
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.
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). 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.
Section 017. The process of writing, and the writing of short stories and plays, will be examined in this section. The focus throughout will be on the writing of the students in the class, although we will also refer to one or two books and a course pack. There will be no exam, but there may be quizzes, and students will write a great deal. (Hollinger)
225. Argumentative Writing. Engl. 125 or 167 or equivalent. (4). (Excl).
This course will develop ways of exploring and defending positions ideas, and beliefs in writing. Attention will be paid to processes of reasoning, the testing of assumptions and claims, the questioning of beliefs, and the discovery of ideas and evidence through analysis and rigorous articulation in written discourse. The course will also focus on considerations of style, formal strategies or techniques, and revision as integral to precision in making points and developing argumentative ideas both for purposes of individual reflection as well as for the purpose of persuading an audience. Classes are usually run on a discussion/workshop basis, with students sharing drafts of papers and examining professional writing from periodicals or from a text book of collected essays.
All sections of English 225 will have course descriptions available for reference in 224 Angell Hall after November 16.
CSP section(s) 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 development of dialogue, characterization, and plot. Several writing assignments will be assigned, designed to acquaint the student with structure and style. Students will also write several short scenes, one monologue play, and a one-act play. Those interested in enrolling should add their name to the waitlist at CRISP, and leave a phone number and address with the English Department Main Office, 7611 Haven Hall. You will be contacted when more details become available. [WL:1]
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, 5th edition, 1988, 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 and 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 of 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) [Cost:2] [WL:1] (Rabkin)
Section 010. Our concerns are generic but our read method is text-specific. Rather than follow texts according to a time-line, we will examine models that alter, enhance, question, or deepen our ideas of the novel and short story. We will note particularly the effect that the writings of Black women and minority authors have on the development of these forms. There will be a midterm and a final exam, and a few short papers required. [Cost:2] [WL:1] (Artis)
240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001 – INTRODUCTION TO POETRY (HONORS) In this course 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. We will attend especially to ways in which poetry reflects the experiences of women and members of other groups marginalized by the traditional canon. 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. [Cost:2] [WL:1] (Kushigian)
Section 002 – This is an introduction to the shifting qualities of poetry in English. The course will alternate between exposure to the poetic genres of earlier periods and attention to poetry of the 1980s, especially by women. Part of the reading will be related to the Robert Hayden conference upcoming this February, which will be attended by Gwendolyn Brooks, Rita Dove, and other African-American writers and critics. In class, we will work on honing our ability to perceive, discuss, and write about the structures of poetry, especially in contemporary free verse. Class time will be divided between brief lectures, discussion, and small group work. Texts include the NORTON ANTHOLOGY OF POETRY, a course pack, and one or two paperback books of poetry by contemporary poets. A very good dictionary, a grammatical reference, and a handbook of literary terms are also recommended. Requirements: attendance and participation, occasional homework, daily in-class writing and exercises, two reports on poetry readings, two papers, exams. [Cost:2] [WL:1] (Ellison)
Section 003 – This course is for anyone interested in reading poetry with increased pleasure and understanding. We will read a wide range of poems of different kinds and periods, and try to develop those skills useful in the analysis and discussion of poetry. Close reading of specific poems will be used to illustrate questions of form, rhyme and rhythm, imagery, tone and content. There will be numerous short, ungraded (but required) writing assignments, group presentations, one or two longer papers, a midterm and a final exam. Other requirements for the course are regular attendance and active participation in class, and final grades will reflect all the requirements. [WL:1] (McSparran)
Section 004 – The aim of this course is to introduce you to the art of poetry 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 impressionistic response, through class discussion and individual study, and through various forms of writing (both spontaneously exploratory and more carefully argued). During the term, we will move from a general survey of poetic techniques and forms to a more detailed study of the work of a selection of authors from the Renaissance to the present. For the former, we will use WESTERN WIND by John Frederic Nims. For the latter, we use the NORTON ANTHOLOGY OF POETRY. To record your day-to-day interactions with texts, I will ask you to keep a poetic journal. More formal writing will include four (ungraded) exercises in poetic analysis and four (graded) papers (3-5 pages) on individual authors and poems. [Cost:2] [WL:1] (Cureton)
Section 006. The section of this course is the beauty of poetry - how to perceive it, how to take joy and understanding from it. We will read together poems written mostly in this century, poems I have chosen because they please me and because I think they will please you. You will write briefly to open each class meeting, except for the first and last, and to prepare for each day's discussion. Those of us who write poetry and would like to share it with the class, will do so during the term. We will also have readings and discussions in some of our classes by working poets in the University. In addition to daily writing, this class requires a midterm paper and a final paper. It has no examination. [Cost:2] [WL:1] (Fader)
Section 007. This course begins to answer the question of how to read poetry with pleasure and skill. We will look carefully at poem after poem with an emphasis on the poet's craft, or how the poem is put together. Requirements will include some memorizing, several short "exercises," one or two formal papers of analysis, and a midterm and a final. Class proceeds by discussion. Text is the complete NORTON ANTHOLOGY OF POETRY. [Cost:1] [WL:1] (Zwiep)
Section 008. 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. [Cost:1] [WL:1] (Flint)
Section 009. This course is designed to help students become better readers of poetry. We will be reading a wide variety of poems, from different periods of literary history and from different genres; and we will be exploring some of the following questions: How do poems ask us to read them? What do poems do to language? How do the forms in which poems are written become meaningful? Our primary text will be the NORTON ANTHOLOGY OF POETRY; our reading will be organized around a series of formal and thematic issues. Students will be expected to read carefully, participate enthusiastically in class discussions, and write several papers. [Cost:1] [WL:1] (Pinch)
Section 010. Our recurrent question will be about the relationship of imagination and poetic form. We will also examine some of the ways in which gender, social class, the conventions and the means of production at once constrain and enable poetic voice. The course is not conceived as an historical survey of the lyric genre in English, but we will examine poems from a variety of historical periods, by authors who represent a variety of aesthetic, conceptual and political persuasions. At the end of the term, we will read individual books of poetry by three contemporary authors. Two 5-page papers, frequent quizzes. Class meetings will be devoted to discussion and close reading. [Cost:4] [WL:1] (Gregerson)
Section 011. We'll read a wide variety of poems drawn from the last four centuries; our aim will be both understanding and appreciation. At first we'll develop a battery of questions likely to be fruitful in close reading. Later we'll apply these questions to poems short and long, simple and complex, as we seek to discover in each case the best avenue to interpretation. From time to time we'll try to view matters from the poet's perspective by composing verse in various forms. For the last 2-3 weeks we'll focus on the works of a single major poet. Daily short papers or exercises, one longer paper, a final exam. [Cost:2] [WL:1] (English)
Section 012. See description for Section 008. (Flint)
Section 013. While we will pay attention in class to the special terms of the critical discussion of poetry, observing the differences between "simile" and "synecdoche, " "chanson de gestes" and "chanson de toile," we will be particularly interested in getting at the nature of poetic meaning and rhetorical force. We will consider both what a poem means and how it means. Why are poems put together as they are? What makes a line (or a poem) beautiful, sublime, funny, or simply apt? Our goals will be to develop the sensibilities of appreciative, supple readers, and to allow the study of poetry to serve as introduction to the pleasures of interpretation and writing. We will discuss poetry of different kinds, times, places, and peoples. [Cost:2] [WL:1] (Leon)
Section 014. See description for Section 007. (Zwiep)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
See Theatre 211. (Ferran)
270. Introduction to American Literature. (3). (HU).
Section 001 – This section of 270 will cover literary works from 1850 to the present and include poetry, drama, fiction, and non-fiction by 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. [Cost:1] [WL:4] (DePree)
Section 002 – The texts required for this course deal to various degrees with American responses to nature, or Nature, usually as an antidote for social or moral ills. Among these texts are Twain's HUCKLEBERRY FINN, John Muir's THE MOUNTAINS OF CALIFORNIA, Faulkner's GO DOWN MOSES, and Leslie Silko's CEREMONY. It will be a discussion course, and there will be at least two hour exams and a final. [Cost:2] [WL:1] (Lenaghan)
Section 003 – AMERICAN LITERATURE IS ETHNIC LITERATURE. One of the major themes in American literature is the "Americanization" of members of various racial, religious, and ethnic groups. In fact, the very first American novel, Nathaniel Hawthorne's THE SCARLET LETTER, can be viewed not only as a literary masterpiece but as a piece of ethnic literature which demonstrates the English Puritans' change and assimilation over a period of time. This section of English 270 will follow this theme beginning with THE SCARLET LETTER, one of the writings from the traditional American canon, and continuing with writings by other American voices and talents including women, Chicano, Asian, Black, Native American and white ethnic writers, a selection which more fully represents "American" or United States literature. We will read six novels (THE SCARLET LETTER, HOUSE MADE OF DAWN, MY ANTONIA, THE LAST HURRAH, GOOD AS GOLD and MAMA DAY) and a number of short stories, and we will examine all of them from a literary, cultural and historical perspective. The class will be primarily discussion and all students are expected to read and be fully prepared to discuss the works in class and on CONFER, a computer conferencing system. Requirements also include a midterm, final and 6-8 page paper. [Cost:2] [WL:1] (Kowalski)
280. Thematic Approaches to Literature. (3). (HU).
Section 001 – EROTIC FANTASIES IN MALE AND FEMALE 20TH CENTURY LITERATURE. The theme of this course is erotic desire in modern literature. After discussing some anonymous ancient texts (the SONG OF SOLOMON from the Bible and a couple of folk tales), we shall move on to texts by modern authors (e.g., D.H. Lawrence, Henry Miller, Anais Nin, Philip Roth, Kate Millet, James Baldwin, Erica Jong, and Norman Mailer). We shall read about 10-12 texts, mostly novels. The students should be aware of being asked to read some very candid sexual descriptions. The questions which we shall put to the texts are the following: What is erotic fantasy and how does it appear in literature during this century? Is it possible to define (and separate) the themes of love, eroticism and sex? Is there a difference between male and female desire? What is the difference between erotic literature and pornography? In order to answer these questions, a selection of theoretical literature (250 pages) will be applied. Every session will begin with a lecture and will be followed by discussion. The latter will require some homework and preparation. There will be two short papers (4-6 pages) and a final exam in the form of a take-home essay. [Cost:2] [WL:1] (Johns)
Section 002 – No one book has had as great an influence on Western Civilization as the Bible. Whether believers or atheists, writers, among others, have drawn upon its stories, legends and myths in order to explore their own vision of what it means to be a human being. We will study selections of the Hebrew and Christian Testaments and then read stories, from American and British literature, that derive their inspiration, positively or negatively, from these sources. We will read about five novels, four novellas and a host of short stories. There will be two short papers, a midterm and a final. PLEASE NOTE, however, this class is not a religious studies class and no previous knowledge of the Bible is necessary. There will be lectures and lots of discussion. Texts: Course pack: Selections from Bible, and short stories (Hawthorne, Lawrence, Malamud, Flannery O'conner, etc.); Novellas: Conrad, THE SECRET SHARER; Melville, BILLY BUDD; West, MISS LONELYHEARTS; Malamud, ANGEL LEVINE; Novels: Hardy, TESS OF THE D'URBEVILLES; Baldwin, GO TELL IT ON THE MOUNTAIN; Roth, CALL IT SLEEP; Paton, CRY, THE BELOVED COUNTRY; Irving, A PRAYER FOR OWEN MEANY. [Cost:2] [WL:1] (Bernstein)
Section 003 – 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: Mary Shelley, FRANKENSTEIN; Wells, THE ISLAND OF DR. MOREAU; Gilman, "The Yellow Wallpaper," Ibsen, GHOSTS; Freud, DORA; Chekhov, "Ward Six"; Camus, THE PLAGUE; Sacks, THE MAN WHO MISTOOK HIS WIFE FOR A HAT and Borges, "Funes the Memorious." Requirements will include one short paper, one research paper, one oral report and a take home exam. [Cost:2] [WL:1] (Vrettos)
285. Introduction to Twentieth-Century Literature. (3). (HU).
The course will consider how works of certain selected 20th Century writers and/or pioneers of modernism reflect the radical changes that have occurred in modern life and consciousness. Emphasis will be placed on the development of various literary forms, styles, and thematic preoccupations that are characteristic of this age, and, to dramatize the changes that have occurred, the class will read a novel of the 19th century by Jane Austen and a work by Dostoevski, also of the 19th Century, that anticipated some of those changes. Other texts will include works by Eliot, Joyce, Conrad, Mann, Woolf, Kafka, and Huxley. There will be lectures and, if students are interested, attentive, and lively, there is certain to be good discussion. Two papers will be required as well as a final. [Cost:3] [WL:1] (Aldridge)
Primarily for Juniors and Seniors
301. The Power of Words. (4). (Excl).
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 Robert Pirsig's ZEN AND THE ART OF MOTORCYCLE MAINTENANCE, Eugen Herrigel's ZEN IN THE ART OF ARCHERY, and Vincent Crapanzano's WAITING: THE WHITES OF SOUTH AFRICA, as well as several short essays. Assignments will consist of three book reviews, three critical essays, one research paper, an oral presentation, and a performance. Grades will be based upon assignments and class participation. This course meets the ECB upper-level writing requirement for non-concentrators. [Cost:1] [WL:1] (McPhail)
302. Writing About Good Books. (4). (Excl).
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. This course fulfills the upper-level writing requirement for non-concentrators. (Meisler)
308. History of the English Language. (3). (HU).
Where did the English language came 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, several 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. [Cost:2] [WL:1] (Wiegand)
309. American English. (3). (HU).
Hands-on linguistic research: Want to study American English in its cultural context? Previous student research projects have included explorations in the English of MTV, WWF broadcasters and wrestlers, harness-race callers, and many social and regional settings where English is distinctive (the UP, Tangier Island, Jamaica). Historical varieties of English (for instance those of colonial America) and policy questions (Should English be Our Official Language?) have also been research topics of considerable interest. English 309, Sec. 001 provides you with the background of American English and with the tools to study and interpret language in use. The focus of the class is discussion of common readings and, at the end, oral presentation of student research projects. In addition to the major paper (10-15 pages in length), there will be a midterm and final. [Cost:1] [WL:1] (Bailey)
314. Topics in Literature Before 1800. (3). (HU). May be repeated for a total of 6 credits with department permission.
Section 001 – MILTON, BLAKE AND THE BIBLE: SNEAKING UP ON CREATION. In this course, we will examine how and why Milton and Blake read the English Bible. We will read selections from the Bible, some of Milton's early poetry and middle prose as preparation for reading PARADISE LOST, and Blake's SONGS OF INNOCENCE and SONGS OF EXPERIENCE as preparation for reading MILTON. We will ask how each poet represented divinity and humanity; how Milton treated the Genesis version of mankind's creation and fall; how Blake treated both Genesis and Milton's version of creation; how each poet altered a text already considered sacred; and what role Blake's visual art played in his representation of the divine. Texts, available at Shaman Drum, will include the King James Bible, Hughes' edition of Milton's poetry and prose, and Erdman's edition of Blake's poetry. A small course pack will be available at Kinko's. Requirements: regular attendance at and participation in class; two papers, a midterm, and a final. [Cost:3] [WL:1] (Krook)
Section 002 – COMEDY ON THE RENAISSANCE STAGE. Drawing upon the work of Shakespeare, Jonson, Beaumont, Dekker, Middleton, Heywood, Massinger, and Shirley. we will read approximately a play a week throughout the term, plus selected critical essays. We will be particularly interested in the intersecting dramas of class and gender as they unfold upon the Tudor and Stuart stage: Who controls the disposition of female sexuality in these plays? How do class anxieties affect the competition for erotic privilege, wealth, and prestige? How do pleasure and transgression intersect in cross-gender disguise? How do these comedies stage their own commodification of pleasure in an age of expanding mercantilism? Two papers, frequent quizzes. [Cost:4] [WL:1] (Gregerson)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
This class offers a survey of seven centuries of women's writing in English. We will be examining such a wide spectrum of literature in order to acquaint you with the richness of women's work and with the validity of a female tradition which both parallels and intersects "dominant" (male) literary trends but which retains its own distinct character. Our readings will include major female talents (Charlotte Brontë, George Eliot, Virginia Woolf, Emily Dickinson), important and less widely-read authors (Anne Bradstreet, Christina Rossetti, H.D., Sojourner Truth) and writers whose work has eluded most traditional configurations of the canon in English: Linda Brent, Margery Kempe, and others. Our lecture/discussions will address a number of issues relevant to the study of women's literature: gender and genre; sexuality and textuality; and the historical conditions of women's lives that have both hindered and helped women's writing. Course writing requirements include several in-class exams and two papers (one brief; one longer). [Cost:2] [WL:1] (Blankley)
316. Intellectual Problems in Literature. (3). (HU). May be repeated for credit with department permission.
THE PSYCHOLOGY OF LITERARY EXPERIENCE. This course is offered jointly with Psychology 501.002, for the Winter Term, 1990. (Landman, Rosenwald)
317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
Section 001 – LITERATURE AND CULTURE OF IRELAND. This course proposes an introductory study of the literature of Ireland from earliest times to the present. This means that we select for reading from among ancient saga, medieval and modern poetry, modern prose fiction and modern drama. We shall draw from both Gaelic literature (in translation) and Anglo-Irish literature. The course has no prerequisite and does not presume prior acquaintance with the subject, nor with Irish history, though students with some knowledge of Ireland and its history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. There will be brief quizzes and one hour exam. Two papers will be written, and a final examination. [Cost:3] [WL:1] (McNamara)
Section 002 – LITERATURE AND HOMICIDE. This course is interested in the ways in which narrative prose deals with provoking social facts. Homicide is certainly such a fact, and this course examines some of the very different ways in which imaginative writers have treated it. We will be reading Dostoevsky's CRIME AND PUNISHMENT, Faulkner's LIGHT IN AUGUST, Wright's NATIVE SON, several murder mysteries, and to conclude the course, Truman Capote's IN COLD BLOOD and Mailer's THE EXECUTIONER'S SONG. The course will proceed mostly by lecture, but strenuous efforts will be made to allow for some discussion. The course is designed to accommodate students from other departments who, though they have no extensive background in literature, have a lively interest in the way that our real and imaginary experiences of socially important phenomena are organized, and to what effect. [Cost:2] [WL:1] (Faller)
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, Morrison, and Kennedy. Each class except the first and last, 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. This course fulfills the Junior/Senior writing requirement for non-English concentrators. [Cost:3] [WL:1] (Fader)
Section 004 – THE LITERATURE OF THE AMERICAN WILDERNESS. This is a Collegiate Fellows section; see page 3 of this COURSE GUIDE for a complete list of Collegiate Fellows courses. Puritan settlers in New England saw the forest around them as a "hideous and desolate wilderness," a place of "wild beasts and wilde men" that they were destined to civilize. Today environmentalists characterize the Arctic National Wildlife Refuge as the "last great wilderness" in America and fight to save it from the oil companies. What is wilderness, and how have American attitudes toward wilderness evolved? The course will explore these questions and others about how Americans (including native Americans) have perceived the natural world and their relationship to it, as these arise from texts ranging from the earliest writing about America to twentieth-century responses to Alaska. Readings will include a series of texts illustrating the place of wilderness in the American imagination: Francis Parkman's THE OREGON TRAIL, Henry David Thoreau's THE MAINE WOODS, John Muir's MY FIRST SUMMER IN THE SIERRA, Mary Austin's LAND OF LITTLE RAIN, Aldo Leopold's SAND COUNTRY ALMANAC, William Faulkner's THE BEAR, and N.Scott Momaday's HOUSE MADE OF DAWN. We will also read some short fiction, a selection of poetry (including poems of Walt Whitman, Gary Snyder, Wendell Berry, and A.R. Ammons), and excerpts from the journals of the Lewis and Clark expedition, from accounts of their travels by naturalists William Bartram and John James Audubon, from the writings of frontier women, and from twentieth-century nature writers. Students will be expected to keep a journal and to write several short papers and take a final examination. Anyone with an interest in the literature and the issues it raises is welcome. [Cost:2] [WL:4] (Knott)
318. Literary Types. (3). (HU). May be repeated for credit with department permission.
Section 001 – 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. Books include: Mary Shelley FRANKENSTEIN, Oxford (1818), Edgar Allen Poe (d. 1849) THE PORTABLE POE, Viking selections; Nathaniel Hawthorne (d. 1864), SELECTED STORIES OF NATHANIEL HAWTHORNE, Fawcett (selections); H.G. Wells, THE TIME MACHINE and THE WAR OF THE WORLDS, Northwestern Univ. Press (1937); Eugene Zamiatin, WE, Dutton (1920); Olaf Stapledon, (THE LAST AND FIRST MEN &) STAR MAKER, Dover (1937); Ray Bradbury, THE MARTIAN CHRONICLES, Bantam (1946-50); 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); and William Gibson, NEUROMANCER, Ace (1984). [Cost:3] [WL:1] (Rabkin)
Section 002 – OLD ENGLISH EPIC/MIDDLE ENGLISH ROMANCE: MEN MOVE TOWARD WOMEN. This course traces the evolution of Medieval English literature from a masculine oriented product (the epic) to a literature reading toward a more balanced, realistic portrayal of women and a loving relationship between the sexes (the romance). The course consists of intensive reading, lectures, and discussions of a representative sample of the major Medieval English narrative poems, the Old English epic BEOWULF and some or all of the following Middle English romances: KING HORN, HAVELOK THE DANE, SIR GAWAIN AND THE GREEN KNIGHT, culminating in Chaucer's masterpiece TROILUS AND CRISEYDE, and ending with the last book of Malory's MORTE D'ARTHUR. Much of the reading will be in Middle English, and an acquaintance with Middle English (Chaucer in the original for instance) is helpful but not absolutely necessary. Written work will consist of two in-class blue books, possible short quizzes and one or two take-home essays. Texts: Kennedy, trans. BEOWULF; course pack KING HORN/HAVELOK THE DANE; Borroff, trans. SIR GAWAIN AND THE GREEN KNIGHT; Chaucer, TROILUS AND CRISEYDE; Brewer, ed. MORTE D'ARTHUR. [Cost:3] [WL:1] (Garbaty)
319. Literature and Social Change. (3). (HU). May be repeated for credit with department permission.
THEATRE AND SOCIAL CHANGE. READING: 1) Greek, Shakespearean, and "non-political" modern drama to put issues of social change in perspective; 2) Boal, Brecht, Kidd, and others for background and ideas; 3) main focus: plays by progressive groups of the last 25 years, guerrilla theater, Chicano theater, the Free Southern Theater, Baraka's revolutionary plays, African and Nicaraguan theatre for development, AIDS Theatre, Women's Theatre 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, 4:00-6:00 plus posted extra hours during preregistration. [Cost:2] [WL:Course is permission of instructor; no waitlist.) (Alexander)
Section 002 – The ways in which the authors we read create sharper images of the individual's relationship to a community will lead members of this class to speculate on the following questions: What factors determine our sense of "self," both our social and psychological selves? How do we distinguish between the many communities to which we belong (our families, our ethnic backgrounds, our nationalities, for example)? And, what effects do these various "memberships" have on our lives? Which are emotionally close, and which are emotionally distant? In discussing the works we will read – mostly 20th. century fiction – we will find authors working with a form that often blurs the distinction between the imagination and reality. We will want, in addition, to explore the dynamics of that conception with some vigor. Our readings will be selected from the following works: John Irving's CIDER HOUSE RULES; Isabelle Allende's HOUSE OF SPIRITS; Toni Morrison's THE BLUEST EYE; Manuel Puig's KISS OF THE SPIDER WOMAN; Gloria Naylor's MAMA DAY; and Milan Kundera's THE UNBEARABLE LIGHTNESS OF BEING. Further selections will be made from the following authors' works: Evelyn Waugh: Michael Ondaatje; Ruth Prawer Jhabvala; Maxine Hong Kingston; William Kennedy, Louise Erdich; T. S. Eliot; and Michael Dorris. Requirements include the desire to discuss issues in class, the writing each week of a short response to works read (to be shared with members of the class), the completion of two thoughtful essays (8-10 pp), and a comprehensive final examination. [Cost:4] [WL:1] (Back)
323. Creative Writing. Junior standing and written permission of instructor. (3). (Excl). May be repeated for credit.
Section 001 – 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: CONTEMPORARY AMERICAN FICTION, MICHIGAN QUARTERLY REVIEW, Winter, 1988, Part II. 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 15. He will post outside his door a list of those accepted on Monday, December 18. Others interested in enrolling should attend the first meeting with a writing sample. [Cost:1] [WL:4] (Creeth)
Section 002 – INTERMEDIATE FICTION WORKSHOP. This is an intermediate fiction workshop for students who have taken English 223. Processes of writing and revision, and techniques of fiction, will be examined through reading and discussion. Most of our class time, however, will be spent in workshop, commenting on student manuscripts. Students will be expected to write at least 50 pages of fiction, attend class, read and critique others' writing and attend readings by visiting authors. No exams will be given, though quizzes may be; evaluation will take into account the above requirements and expectations. There will be two or three required texts and possibly a course pack. Students will also incur copying costs. For admission to this section, get on the Wait List at CRISP and bring a sample of your fiction to the first class; overrides are given out only during the first week of the term. When going through early registration, note that admission to any upper-level writing course is a chancy proposition and should not be counted on. [Cost:2] [WL:1] (Holinger)
Section 003 – 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. Students who want to enroll in the course should get on the Wait list at CRISP and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter. [Cost:2] [WL:1] (Ezekiel)
Section 004 – POETRY. Students are expected to maintain journals throughout the term, to comment thoughtfully and intelligently on one another's work and on poems from the text, and, finally, to come up with approximately 250 lines of closely edited poetry. Attendance at the readings sponsored by the English Department is also encouraged. Students who want to enroll in the course should get on the Wait list at CRISP and bring three or four of your best poems to class the first evening. A list of those admitted will be posted shortly thereafter. [Cost:2] [WL:1] (Ezekiel)
Section 005 – 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. [Cost:1] [WL:1] (Hagy)
Section 006. 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. Permission of instructor to be obtained before CRISP registration by conference during office hours (posted on door of 2617 Haven Hall). [Cost:1] [WL:3] (Wright)
327. Writing for Business. English 325 or successful completion of the Junior-Senior writing requirement. (1). (Excl).
English 327 is designed to provide students with an introduction to the primary forms of writing in business and to offer intensive practice in the design and preparation of written materials appropriate to the business environment. Students will prepare weekly assignments both individually and in collaboration with others in the class. The final project, which students will develop in groups of 4 to 5, will be a major document of the sort writers in business are often called to prepare – a fairly lengthy brochure, a corporate report, or a description of a forthcoming business campaign. Students enrolling in this course should be confident of their writing ability and have taken a writing course beyond English 125. Grades will be based on class participation, weekly exercises and writing assignments, and the final project. Regular attendance is mandatory: the course is short, and the work is cumulative in its design. Instead of a text, students will be asked to purchase a course pack and work with other materials provided by the instructors. Each session will involve a mix of lecture, discussion, and workshop. The instructors are Ejner Jensen, Professor of English, and Clark Malcolm, Senior Associate in the Herman Miller Research Corporation. This course meet Tuesdays, 5-6: 30 p.m., through March 27. [Cost:1] [WL:1] (Jensen, Malcolm)
329. Practical English. (4). (Excl).
Section 004 – This is Collegiate Fellows section; see page 3 of this COURSE GUIDE for a complete list of Collegiate Fellows courses. In a workshop, students will cultivate written and spoken forms that have wide practical use in groups: letters, speeches, reports, essays, prospectuses, panel presentations, public drafts, working papers, and more. Much of this work will be collaborative. Although students will compose and revise individually, they will often create assignments, edit, and evaluate each other in groups. Through such activities, the workshop will reproduce a crucial feature of social and professional life: acts of writing and speaking typically occur in continuing chains of composition, evaluation, and revision leading to collective results: new ideas, new documents, new plans of action. Clearly, success in this course requires everyone's commitment to group effort and individual responsibility. 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 (submitted for grade by each student from a total output of 50 to 60 pages), and class participation. Required text: Hodges' HARBRACE COLLEGE HANDBOOK. This course satisfies the ECB upper-level writing requirement for non-concentrators. [Cost:1] [WL:1] (Smith)
Section 005 – 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. Text to be announced. This course fulfills the upper-level writing requirement. for non-concentrators. (Crawford)
340. Reading and Writing Poetry. (3). (Excl).
This course is meant for anyone who wishes to practice the art and craft of poetry for pleasure, self-expression, and exploration. Here we read poetry in order to write it and write in order to read better; apprentice ourselves to great and moving examples from English and American poets (and some non-Western ones); attend in detail to figures and forms, ways of taking and making a world through acts of making poems. Students will keep journals, read closely the poems they pick, write their own, respond to each other's work in useful ways, and learn to acquire "a usable past." [WL:1] (Ramanujan)
355. Core I (Great English Books). (4). (Excl).
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 (Laurel Shakespeare, Dell); DONNE, Smith, ed. (Penguin); THE COMPLETE PLAYS OF MARLOWE, Ribner, ed. (Odyssey); VOLPONE, Barish, ed. (Crofts Classics); PARADISE LOST, Hughes, ed. (Odyssey). [Cost:3] [WL:1] (Garbaty)
Section 002 – A) Reading: In this first of the three Core courses, the reading is of major English literary, works of the Middle Ages and the Renaissance – from anonymous Old and Middle English lyrics and prose pieces to Milton's PARADISE LOST. B) Writing: (1) Weekly, paragraphs and short (2-page) essays on currently assigned readings; (2) Impromptu exercises – in the form of "Items" and "Responses" on the MTS Course Conference;(3) a midterm and final exam. NB: THE COURSE *CONFER WILL BE THE ONE MEDIUM FOR ALL WRITING IN THE COURSE. ALL WRITTEN WORK WILL BE READ BY ALL MEMBERS OF THE CLASS. REGULAR PARTICIPATION IN *CONFER – I.E., SEVERAL TIMES WEEKLY, FROM BEGINNING TO END OF TERM – IS AN UNWAIVABLE REQUIREMENT FOR CREDIT IN THE COURSE. C) Classtime discussion: In several meetings of the class, there will be interruptible lectures – most on contexts, some on assigned works. Most meeting time will be given to discussion of currently assigned works. D) A Group Project: Early in the term, the class will be sub-divided into groups of five or six members; each group will be scheduled to make a one-hour presentation to the class during the last weeks of the term. E) The Texts: (1) The NORTON ANTHOLOGY OF ENGLISH LITERATURE (Volume I) (2) A course pack. [Cost:2] [WL:1] (van't Hul)
Section 004 – We'll be reading some of the best literature in English from the earliest period through the mid-17th century. Texts are 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; Book One of Spenser's FAERIE QUEENE; poems by Sidney, Shakespeare, Donne, and Herbert; 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 intellectual background, help with the language, and ideas for discussion. Requirements: class attendance and participation based on careful reading; quizzes, discussion panels, and short writings; two offbeat essay; a final exam. Texts: the NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. I; small course pack. [Cost:2] [WL:1] (Crawford)
Section 005 – This course is the first in the three-part sequence required for those who concentrate in English literature. We will examine major works from the Middle Ages and Renaissance, including selections from BEOWULF, Chaucer's CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, the SECOND SHEPHERDS PLAY, a Shakespeare play, end Milton's SAMSON AGONISTES. Our focus will be on the roles of women and the qualities of the hero in these works. Discussion with lecture as needed. Three short essays (3pp.) and one longer one (7pp.), midterm, final. [Cost:2] [WL:1] (Tinkle)
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, Spencer'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. [Cost:3] [WL:1] (Cloyd)
Section 007. This will be a course in English masters of the late Middle Ages and the Renaissance. We shall read from medieval literature selections from Chaucer's CANTERBURY TALES (in Middle English), the romance, SIR GAWAIN AND THE GREEN KNIGHT, and two religious plays. We'll begin our reading in the Renaissance with sonnets by Sidney, Book III of Spenser's FAERIE QUEENE, and Marlowe's tragedy, DOCTOR FAUSTUS. We'll continue with lyric poetry by Shakespeare, Jonson, and especially Donne and conclude the term with Milton's epic PARADISE LOST. Discussion with short lectures on background. Two bluebooks, two short essays, and a take-home, two essay final. Text: the NORTON ANTHOLOGY OF ENGLISH LITERATURE, 5th ed., Vol. I. [Cost:1] [WL:1] (Creeth)
Section 008. See description for Section 004 – (Crawford)
356. Core II (Great English and American Books). (4). (Excl).
Section 001 – The second of three Core courses required of English concentrators, this course focuses on English masterpieces from the Restoration to the Romantic period and on the American masterpiece of 1851, MOBY DICK. The English writers considered will be Dryden, Pope, Swift, Fielding, Austen, Wordsworth and Shelley. Classes will be a mixture of lecture and discussion, and demand close reading of the texts assigned. There will probably be a midterm and two papers in addition to a final examination. [Cost:3] [WL:1] (Schulze)
Section 002 – This section of Core II will focus on literary innovation from the English Restoration to the American Civil War. We will alternate between books that you have heard of and books that, although well known in their own time, you haven't. Genres covered will include satire; drama; the novel, including its gothic and sentimental varieties; libertine verse; mock epic; the greater romantic lyric and other lyric forms. While continuous coverage of the relationship between literary and social history is impossible, we will examine individual works in the context of Atlantic cultures. The syllabus is not yet set, but the reading will include a number of the following texts: Dryden's THE INDIAN EMPEROUR and poems; Behn's OROONOKO; Pope's RAPE OF THE LOCK; poems by Finch, Behn, Rochester, Swift; essays and letters by Lady Mary Wortley Montagu; Addison's CATO; Johnson's RASSELAS and "Preface to the Dictionary"; Fanny Burney's EVELINA; poems by Goldsmith, Wordsworth, Felicia Hemans, Keats, Longfellow, Dickinson; short fiction by Washington Irving and Melville; Charles Brockden Brown's EDGAR HUNTLEY, Mary Shelley's FRANKENSTEIN; Hawthorne's THE BLITHEDALE ROMANCE; and Stowe's UNCLE TOM'S CABIN. Because so many of the assigned texts are not anthologized, the required texts will consist of a large course pack and a number of paperback books. The course moves at an exhilarating pace. Requirements: attendance and participation, daily in-class writing, three papers, final exam. Discussion. [Cost:3] [WL:1] (Ellison)
Section 003 – In this course, we'll study some literary works written during the eighteenth and nineteenth centuries in England and during the nineteenth century in the USA. We'll ask how writers from different cultural traditions influence one another, and how literary values are formed in the course of literary and cultural history. This is a lecture-discussion course. Several short essays are required and occasional quizzes will be given. [Cost:3] [WL:1] (Ross)
Section 004 – In this survey we shall analyze literary works in different genres written during the period 1700-1860. English Neoclassicism will be represented by readings in the poetry of Alexander Pope, as well as John Gay's THE BEGGAR'S OPERA and Daniel Defoe's MOLL FLANDERS. We shall then read extensively in the Romantic poets, especially Wordsworth and Keats, and study Jane Austen's PRIDE AND PREJUDICE. Crossing the Atlantic, we shall consider prose by R.W. Emerson, Herman Melville's MOBY DICK, and the poetry of Walt Whitman. These texts will be read in their historical context, some more than others. The format is lecture-discussion. Required work includes three papers, one midterm and one final examination. [Cost:3] [WL:1] (Goldstein)
Section 005 – In this course we will read a wide range of English and American authors from the period 1660-1850, paying attention to their historical contexts as well as to their explicitly literary concerns. Authors will include Congreve, Dryden, Bunyan, Behn, and Pope; Fielding, Radcliffe Johnson, Wordsworth, and Keats; Hawthorne, Poe, Whitman and Dickinson. Numerous texts will be available at Shaman Drum, and there will be a small course pack available at Kinko's. Requirements: heavy reading assignments; regular attendance at and participation in class; three papers and a final. [Cost:4] [WL:1] (Krook)
Section 006. This section studies literature, including poetics and philosophical works, and related cultural arts in Britain in the 18th and early 19th centuries. Principal authors include Pope, Swift, Johnson, Blake, Wollstonecraft, Wordsworth, Coleridge, Shelley, and Keats. [Cost:2] [WL:1] (Wright)
Section 007. In this course we will read representative works of English and American literature from the late seventeenth to the mid-nineteenth century. Texts will include Wycherley, THE COUNTRY WIFE; Defoe, ROXANNA; the poetry of Alexander Pope; Richardson, PAMELA; the poetry of Wordsworth and Keats; Jane Austen, PERSUASION; Mary Shelley, FRANKENSTEIN; Douglass, NARRATIVE and the poetry of Emily Dickinson. Through close reading and active discussions, we will work towards interpretations of individual texts. We will also, however, be reading these works in relation to each other, tracing issues and themes (for example, literary representations of gender) throughout the term in order to study the relationships between literary form and historical change. There will be a brief (2-3 page) ungraded paper at the beginning of the term, two papers of 4-6 pages, a midterm and a final exam. [Cost:3] [WL:1] (Pinch)
Section 008. A selection of some of the best poetry, fiction, and drama written in England and America from the late seventeenth to the mid-nineteenth century. Here's the list from which I'll be choosing: poems by Dryden, Pope, Burns, Wordsworth, Byron, Keats, and Dickinson; novels by Fielding JOSEPH ANDREWS, Burney EVELINA, Austen EMMA, Shelley FRANKENSTEIN, E. Brontë, WUTHERING HEIGHTS, and Melville BILLY BUDD; plays by Congreve WAY OF THE WORLD, Goldstein SHE STOOPS TO CONQUER and Sheridan SCHOOL FOR SCANDAL. Our focus will be on class reading of the works in their historical contexts; I'll try to provide a running account of the remarkable transformations during our period. There'll be oral presentations by student panels; modest attempts at staging scenes from plays; frequent short papers, one longer paper, a midterm and a final exam. [Cost:3] [WL:1] (English)
357. Core III (Great English and American Books). (4). (Excl).
Section 001 – A course surveying British and American literature from the latter half of the nineteenth century to the present. As we explore a number of significant works from this period, we will address the following issues: Victorianism in poetry and the novel; narrative and poetic innovation; war and cataclysm; gender, race, and representation; literary modernism; performance and the modern stage; critiquing the American myth; literature and the visual arts; power and technology; language, voice, and authorship. In short, we will trace the evolutions and disruptions of literary sensibility as Britain and the United States move from the height of imperialism and the aftermath of civil war to the political and cultural landscapes of a post-World War II world. Authors will include Tennyson, Browning, Arnold, Dickens, Twain, Shaw, O'Neill, Yeats, Eliot, Woolf, Faulkner, Morrison, Beckett, and Shepard. This course will be conducted within a lecture/discussion format. Requirements: two papers with formal revisions; midterm and final exam; regular attendance and participation. Books for this course will be ordered through Shaman Drum Bookstore, 313 S. State. [Cost:2] [WL:1] (Garner)
Section 002 – This is the third in the series of Core Courses, covering major writers from the Victorian and Modern periods. The readings will include poetry by Tennyson or Browning, Eliot, Yeats, and Stevens; short stories by Hemingway, James, and Dinesen; novels by Trollope, Joyce, Woolf, and Faulkner; plays by Shaw and Beckett. (The list of authors is tentative, but the mix of genres certain.) The course will emphasize close reading and class discussion. Requirements: two short papers, midterm, final. [WL:1] (Zwiep)
Section 003 – CIVILIZATION AND ITS DISCONTENTS. This course surveys great works in English and American literature between 1850 and the present. To focus our discussions we will begin with the themes Freud sets out in his seminal work of 1930, CIVILIZATIONS AND ITS DISCONTENTS, concerning the struggle of the individual to find personal freedom and the opportunity for self-expression in societies whose very organization is inimical to such demands. Freud's concerns about the price civilization exacts and the resulting varieties of rage, frustration, and accommodation in individual response are shared by the authors whose fiction, poetry, and drama we will study. This course will observe the diverse ways writers conceive of this conflict between the self and the society and the literary forms through which they express it. Puzzling over the relationship of the individual to civilization leads writers to question how the self is defined, and then what is real, and how we know it. We will follow the thread of these connections through close readings of texts by writers including Dickens, Hardy, James, Browning, Dickinson, T.S. Eliot, Joyce, Woolf, Faulkner, Hemingway, Waugh, Morrison, Barth, Stoppard, Rosellen Brown, and Pete Dexter. Class requirements include careful reading of texts, consistent attendance, participation in class discussion, two 5-6 page papers, short weekly responses to the texts, and a final examination. [Cost:2] [WL:1] (Wolk)
Section 004 – This is the third of three Core courses required of English concentrators but open to all students interested in the best literature in English in the past hundred years. We will read: Henry James' THE PORTRAIT OF A LADY, E.M. Ford's PARADE'S END, O'Neill's MOURNING BECOMES ELECTRA, Faulkner's ABSALOM, ABSALOM, Margaret Laurence's THE DIVINERS, and James Baldwin's ANOTHER COUNTRY. The list provides richness and variety – in various genres and experimental modes. The course will include some introductory lectures but will depend largely on informed class discussion. Students will write a couple of major essays and a few brief exercises. There will likely be a final exam. [Cost:3] [WL:1] (Powers)
Section 005 and 006 – The third in the core sequence in English, this course will examine British and American literature from 1850 to 1950. The emphasis will be on novels and short stories, but we will also read a representative selection of Victorian and modern poems, and at least one play. The fiction includes: Brontë's JANE EYRE, Clemens' ADVENTURES OF HUCKLEBERRY FINN, Chopin's THE AWAKENING, Conrad's HEART OF DARKNESS, Fitzgerald's BABYLON REVISITED, Woolf's TO THE LIGHTHOUSE, Faulkner's THE BEAR, Wright's NATIVE SON, and short stories by Joyce and O'Connor. Poems include works by Tennyson, Browning, the Rossettis, Hardy, Yeats, Pound, Eliot, Auden, and some Great War poets. Students should have taken English 355 and 356 before electing this course. The format will be a blend of lecture and discussion, with some film showings and occasional student presentations. There will be several short response papers, two medium-length papers (5-7 pages), a midterm and a final exam. [Cost:3] [WL:1] (Heininger)
Section 007. In this course we will read a wide range of late 19th century and 20th century American and British poets and novelists in order to illustrate something of the richness and variety of literature during this period. Poets will include Browning, Eliot, Frost and Levertov. Novels will include Forster, A PASSAGE TO INDIA; Woolf, TO THE LIGHTHOUSE; Silko, CEREMONY; Bellow, HENDERSON THE RAIN KING; Faulkner, AS I LAY DYING; and Morrison, BELOVED. There will be a number of short papers and a final examination; the usual mode of instruction will be discussion. [Cost:4] [WL:1] (Howes)
367. Shakespeare's Principal Plays. (3). (HU).
In this course we will study closely eight plays by William Shakespeare: A MIDSUMMER NIGHT'S DREAM, AS YOU LIKE IT, HENRY IV, Part One, HAMLET, OTHELLO, KING LEAR, THE WINTER'S TALE, and THE TEMPEST. Although our goal will be to attend as intensively as possible to the rich complexity of the plays, we will be particularly concerned with the corollary issues of social identity and sexual power. The format of the class will be two lectures and one discussion section meeting per week. Requirements include attendance, three papers (4-6 pp.), a midterm and a final exam. The text will be ordered through Shaman Drum Bookshop, 313 S. State. [Cost:2] [WL:1] (Schoenfeldt)
393. Honors Survey: Eighteenth-Century English Literature. Admission to the English Honors Program. (3). (Excl).
An intensive introduction to English Literature from the outrageous plays and satires of the Restoration (1660) to the beginnings of Romanticism 130 years later. Readings will include well-known writers like John Dryden, Alexander Pope, Jonathan Swift, Henry Fielding, Laurence Sterne and Jane Austen, the first autobiography of an ex-slave, and a number of women writers such as Aphra Behn, and Mary Wortley Montagu. Requirements: Class participation, one short essay, one final paper. (Turner)
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 on the dramatic, perhaps "revolutionary" changes that have taken place in the past twenty-five years. Major areas of study will include those branches of theory associated with Romanticism, Modernism, New Criticism, Structuralism and Post- structuralism, 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. [Cost:3] [WL:1] (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. [Cost:2] [WL:1] (Williams)
407. Topics in Language and Literature. (3). (Excl).
Section 001 – FEMINIST PERSPECTIVES ON ACADEMIC WRITING. Writing is a curious activity for it is at once very personal, an extension of one's self, and at the same time it is the medium through which we present our ideas to others for their consideration. The situation of school writing, in which less experienced writers are generally "writing up" to an evaluator, is particularly vexing as these different aspects of writing collide. The purpose of this course is to explore the nature of academic writing from a feminist perspective. The course will be organized around the following set of questions: What can feminist scholarship in education, cognitive psychology, and literary studies tell us about the activity of school writing and the difficulties it might present to women? What paradigms govern the teaching of writing today? What would a feminist writing environment be like? Students with no background in feminist studies or education may find the course perplexing. Course requirements include: a reading journal, regular participation in class discussion and writing workshops, and three 5-7 page papers – a literature review, a critical analysis, and an imaginative essay. Readings for the course will include selections from Martin, RECLAIMING A CONVERSATION; Belenky et al, WOMEN'S WAYS OF KNOWING; Culley and Portuges, GENDERED SUBJECTS; Olsen, SILENCES; Woolf, WOMEN AND WRITING; and articles from composition journals. This course meets the ECB upper-level writing requirement for non-concentrators. [Cost:2] [WL:3] (Jessup)
Section 002 – RACE, CLASS AND THE RHETORIC OF DIFFERENCE. This class centers around the public discourse of race and class in the periodical press of Victorian England. Utilizing essays in writing theory from Raymond Williams, Wolfgang Iser, Mikail Bakhtin and others, we shall investigate a variety of Victorian texts written by middle-class writers for newly educated middle-class readers, concentrating on an analysis of rhetorical as well as stylistic devices. Beginning with Henry Mayhew's documentary of LONDON LABOUR AND THE LONDON POOR in the MORNING CHRONICLE from the 1840's and 1850's, we shall move to an examination of Thomas Carlyle's "Occasional Discourse: The Nigger Question" and J.S. Mill's response, "The Negro Question," both from FRASER'S MAGAZINE as well as essays from Charles Kingsley, Frances Power Cobbe, John Ruskin, James Froude and others which will comprise our discussion of race, class and the broader notion of Empire. Class discussion will center on primary texts as well as paper to papers, length 4-5 pages and 1 long paper, 8-10 pages. Guidelines for papers will accompany all assignments and conferences will be scheduled to discuss comments on papers. Students will have opportunities to revise all papers. A short presentation of the final long paper will complete the class. This class meets the ECB upper-level requirement for non-concentrators. [Cost:1] [WL:1] (Cassidy)
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 include: "Hearts and Minds," "Platoon," "Coming Home," "Breaker Morant," "Ashes and Embers," "The Deerhunter," "Casualties of War," "The War at Home," "Jonah Who Will be 25 in the Year 2000" and films made by the Vietnamese. Texts will include: Levertov's FREEING OF THE DUST, Kozol's THE NIGHT IS DARK AND I AM FAR FROM HOME, Brownmiller's AGAINST OUR WILL and Vietnamese poetry and fiction. 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. [Cost:3] [WL:1] (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 dialogue. 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 some of the following: "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. [Cost:2] [WL:1] (McDougal)
413/Film-Video 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.
Section 001 – This course will look at two different genres, the post-1972 horror film and sex farce, that share the common aim of "grossing-out" the audience. The course will be centrally concerned with defining the value of "gross out," both as a response to and a reflection of rapidly changing social and cultural currents, but also as a determinant of artistic accomplishment that offers a potential radical challenge to conventional aesthetic notions. Individual works will be considered from psychoanalytic, sociological and structuralist perspectives. There will be some concern for theoretical issues, particularly dealing with connection between horror and comedy. Films to be screened will possibly include: among the horror films – from an earlier period, THE BIRDS, one of the most influential films in the genre; THE TEXAS CHAINSAW MASSACRE, THE EXORCIST, CARRIE, THE SHINING, THE OTHER; from the comedies - M*A*S*H as the primary influence on the later film, ANIMAL HOUSE, PORKY'S, FAST TIMES AT RIDGEMONT HIGH, REVENGE OF THE NERDS, HEAVEN HELP US! Students will attend three hours of lectures and discussions as well as view two or three hours of film each week. They will write a midterm and final paper as well as take a final exam. Lab fee. [Cost:2] [WL:1] (Paul)
Section 002 – Film as art has a 70 year history, changing from the abstract animation of the 20's to the structural film of the 60's to the expanded cinema and video art of the 70's and 80's. This class takes a close look at the art film, which has also been referred to as the "non-narrative film." It discusses their aesthetic and innovative aspects as well as placing them in the larger context of art history. In the early 20's, art films were mostly abstract, any reflection of reality would have belittled the new medium's claim of being "absolute." As early as 1926, Hans Richter was one of the first artists to use images of objects from reality in his work FILMSTUDIE. Thirty-seven years later, Stan Brakhage pasted moth wings and blossoms onto blank film for his MOTHLIGHT. Objects themselves, not their photographed images, were turned into a structural experience. Twenty years later, a machine-made world of imagery produced a new "reality" and aesthetics. Students will take a midterm and final examination and write a term paper. Students with experience in production may work on a film or video project instead of submitting the paper. Lab fee. [Cost:3] [WL:1] (Kober)
415. Interdisciplinary Approaches to Literature. (3). (Excl).
Section 001 – READING BLACK/WOMEN'S TEXTS "ACROSS THE SEAS." A difficulty one encounters in attempting to read Black/Women's writing as a canon of texts is that the categories "Black" and "woman," like the categories "white" and "male" against which they are implicitly defined, are problematic. This difficulty, considerable as it is, becomes almost intractable when texts are drawn from diverse nationalities. In this course, we shall address some of these difficulties through an analysis of the function and value of constructs such as "race," "gender," and "class" in the explication of these texts. Some of the texts to be used include BELOVED (Toni Morrison), WOMAN AT POINT ZERO (Nawal el Saadawi), FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE (Ntozake Shange), SO LONG A LETTER (Mariama Ba), and FEMINIST THEORY: FROM MARGIN TO CENTER (Bell Hooks). Course work will include three short papers (3-4 pages, to be submitted in the last week of January, February and March), one long paper (10-15 pages, to be submitted in mid-April) and a final examination. [Cost:3] [WL:4] (Esonwanee)
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 – MAJOR NOVELS OF WILLIAM FAULKNER. This course will focus on a study of the background, genesis, and composition of probably four novels, culminating in a close reading of the texts and discussion and the writing of papers developing from this whole process. The novels will probably include LIGHT IN AUGUST, THE SOUND AND THE FURY, ABSALOM, ABSALOM, GO DOWN, MOSES. This course, required of all English concentrators, will treat the backgrounds and genesis of Faulkner's work and then go on to a close reading of the novels mentioned above. Classes will involve both lecture and discussion, and the written work will include two papers and a final examination. Each student will present one of the papers in class. [Cost:1] [WL:1] (Blotner)
Section 002 – 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 called 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 JUST 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 and her newly published memoirs, DANCE ON THE EARTH. 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. [Cost:3] [WL:1] (Powers)
Section 003 – CHAUCER'S TROILUS AND CRISEYDE AND ITS LITERARY CONTEXT. Chaucer's TROILUS is his most ambitious work. It is an examination of love and sexuality set against a philosophical-moral system of great medieval authority. It is a self-consciously serious literary undertaking, and as such it has lines of connection into a number of other medieval literary works. In this course we will concentrate first on TROILUS, then on some of these other works, focusing discussion by means of individually led class projects; finally we will go back to TROILUS for a summary discussion. There will be various short exercises, a class project, and a seminar paper. [Cost;3] [WL:1] (Lenaghan)
Section 004 – MOTHERS AND DAUGHTERS IN LITERATURE. Of all the parent/child relationships, the bond between mother and daughter is perhaps the most intriguing because of its complexity and its potential, in a culture where women are the primary care-takers of infants and where gender roles follow recognizable social and psychological patterns that shape women's lives in particular ways. By reading works of literature that represent a range of historical and social possibilities, we will seek to define the following: how is the mother/daughter relationship restricted by patriarchal culture? how do mothers relay information about "femaleness" to their daughters? how do daughters respond to that information? and how do texts by women and men register the pleasures and pressures that characterize a daughter's view of her mother or a mother's understanding of her female child? Our reading will include works by Euripides, Sophocles, Jane Austen, Toni Morrison, Colette, Adrienne Rich, Anne Sexton, and Virginia Woolf. We will also study some relevant theoretical material from other disciplines (psychology, sociology, history, etc.). Class format is lecture/discussion. Expect to write several short essays, a midterm exam, and a final longer essay. [Cost:3] [WL:1] (Blankley)
Section 005 – 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. [Cost:2] [WL:1] (Clark)
Section 006. THE POWER OF BLACKNESS IN HAWTHORNE AND MELVILLE. In this course we will study intensively a few of the works of Hawthorne and Melville: of Hawthorne a dozen or so short stories, THE SCARLET LETTER and THE BLITHEDALE ROMANCE; of Melville THE PIAZZA TALES, MOBY DICK and BILLY BUDD. In addition to the fiction, we will read a considerable amount of secondary material – sources and criticism. For this reason, NORTON CRITICAL EDITIONS will be used when available; additional materials will be provided in a course pack. The critical reading is intended, of course, both to broaden and deepen appreciation of the fiction and to stimulate class discussion of the major issues found in them. The focus will be on "the power of Blackness" (Melville's phrase) in these two writers: their oppositional stance to the prevailing optimism of the American society of their day. Two papers will be assigned (8-10 pages), one on each writer; and probably two oral presentations to the class – a summary of some criticism. If everyone attends class regularly and participates with enthusiasm (real or feigned), there will be no exams. Those, however, who absent themselves from our felicity awhile will face a final exam. [Cost:3] [WL:1] (Beauchamp)
Section 007. 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." Does it "really matter" to us that an autobiography may include both fictitious characters and historical persons, 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 three times weekly – in a computer course conference is an unwaivable requirement for credit in the course. All writing, including weekly short essays, will be read on CONFER by all members of the seminar. [Cost:4] [WL:1] (Van't Hul)
Section 008. This section of English 417 will explore the theory and practice of stage comedy. Our comic texts will be taken chiefly from the Renaissance and the twentieth century with a likely focus on selected plays from Shakespeare, Shaw, and Stoppard. Readings in the theory of comedy will be drawn from an extensive selection of texts available through the University Library's reserve system. Students in this section should expect a substantial amount of reading, a strong emphasis on class discussion, one or two required oral reports, considerable bibliographical work, and the instructor's insistence on regular class attendance. The chief product of each student's work will be a long paper due at the end of the term, but writing will be a regular feature of this course that in part fulfills the Junior/Senior Writing Requirement for English concentrators. [Cost:2] [WL:1] (Jensen)
Section 009. SETTLEMENT LITERATURE. The first step in moving from immigrant to resident status is clearing one's own space. In this course we will examine the ways in which newcomers to various lands in various ages established literal and figurative spaces for themselves. We will pay particular attention to the treatment of native culture in the settlement tales. There will be four short papers and one brief oral report required from each student. Class participation will also influence the final grade. [Cost:2] [WL:1] (Artis)
Section 010. CONTEXTS OF MODERN IRISH LITERATURE. This a Collegiate Fellows section; see page 3 of this COURSE GUIDE for a complete list of Collegiate Fellows courses. This class will study the twentieth-century Irish Literary Renaissance within the twin contexts of Irish literature and Irish history rather than the more usual contexts of British literature and international Modernism. Reading will include poetry by W.B. Yeats, fiction by James Joyce and Elizabeth Bowen, and plays by Lady Gregory, John Synge, and Sean O'Casey, as well as less well known materials by writers like Douglas Hyde, Patrick Pearse, and Flann O'Brien. We will also read a small amount of history and historical documents. Bearing in mind that Ireland was England's oldest and longest-held colony, we will study particularly the relations between literature and nationalism, between Irish and English contexts for Irish literature, and between nationality and cosmopolitanism in Irish works of this period. Along the way, we will query some currently fashionable clichés in cultural studies. As a senior seminar for English concentrators, the class will emphasize discussion, and will include both class presentations and more formal writing assignments. [Cost:3] [WL:1] (Bornstein)
Section 011. TRAGEDY AND THE TRAGIC EVOCATION: FORM, THEORY, THEATER, AND ETHICAL CONTENT. We will study the forms, thematic content, theories, theater history, and changing roles of tragedy in Western drama from Periclean Athens to the present day by reading representative tragedies from the genre's major Eras: Classical, Renaissance, and Modern. We will also read theory and criticism of tragedy, mostly modern commentary but also critical masterworks of the past. We will try to determine how each age has made tragedy meaningful for itself and how the tragic evocation has managed to remain a viable literary and theatrical pursuit for 2,500 years. A common body of intensive reading will be the basis for class discussion. Each student will have an opportunity to lead discussion and present a short report, write a short paper, and write a long critical essay (which will surely require readings beyond the common body). The limited size of the class allows maximum participation in the exchange of ideas among people learning together and from each other, with is the nature of a true seminar. This class will require active participation in the discussion of texts. No spectators; no "correspondence course" devotees. Senior English concentrators only should select this class. English 417, along with the three Core courses, meet the Junior/Senior writing requirement for concentrators. Be sure to add the ECB modification for 417 at CRISP to save yourself administrative grief. [Cost:2] [WL:1] (Bauland)
Section 012. MEDIEVAL LOVE TALK. This course will explore the literary conventions of medieval love talk – concentrating on how men use standard expressions to define gender roles and on how women respond. While reading medieval French (in translation) and English poetry and personal letters, we will draw on a variety of critical theories to enrich our understanding of what conventional love talk means. Primary texts to be covered include Andreas Capellanus' THE ART OF COURTLY LOVE, the letters of the Paston family, Chaucer's PARLIAMENT OF FOWLS and KNIGHT'S TALE, and John Lydgate's TEMPLE OF GLASS. Two short papers (5 pp.) will allow you to develop your own response to the theoretical concerns of feminism, gender studies, Marxism, and so on. One longer research paper (20 pp.) will encourage you to work closely with both theory and primary text (or texts) to set forth your own ideas about the meaning of medieval love talk. This is a discussion class. [Cost:3] [WL:1] (Tinkle)
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 and a final exam. Films will be chosen from the following: "Beauty and the Beast," "The Company of Wolves," "Rashomon," "Jane Eyre," "Oliver Twist," "The Grapes of Wrath," "Apocolyspe Now," "Women in Love," "The African Queen," "A Passage to India," "Joseph Andrews," "Kiss of the Spider Woman," and "Pride and Prejudice." [Cost:3] [WL:1 – If there is a long waitlist, you may also be contacted by letter.] (Howes)
Section 014. This course seeks to ask (though not necessarily to answer) a series of questions about the short story form: what if short stories are not miniature novels but constitute, in fact, an other and perhaps subversive form of fiction? Are there types of characters who appear only in short stories? Are there stories that can be told only in this form? It is possible that the short story stands in some sense against the narratives of history, development, and expansion that one finds in the novel? It may be that the modern and contemporary short story tells us about people who do not, or cannot, make plans. We will investigate those possibilities, reading the work of writers who are known largely (or exclusively) for their short stories. We will read writers such as Sherwood Anderson, Katherine Anne Porter, John Cheever, Grace Paley, Eudora Welty, Raymond Carver, and Toni Cadre Bambesa, and we will conclude by reading very short stories from around the world, including those by Bessie Head, from Botswana, and Yuan Ch'iung-chiung, from Taiwan. Students interested in this subject may want to read Frank O'Connor's stimulating but eccentrically unreliable book on the short story, THE LONELY VOICE. Requirements include attendance, weekly one-page commentaries, a brief oral report, a short paper (about four pages) and a final paper (ten pages). [Cost:3] [WL:1] (Baxter)
Section 015. THREE MODERN BLACK POETS: GWENDOLYN BROOKS, ROBERT HAYDEN AND LANGSTON HUGHES. All born in the first 20 years of this century, poets Brooks, Hayden and Hughes have each left a substantial body of work that has helped shape the voice, vision and form of modern Black poetry. Hughes was the first modern Black poet to fully and effectively exploit the forms of Black oral literature, particularly blues idiom and rhythm, to express the collective consciousness of Black people. Widely acclaimed as the best Black modernist poet of the 20th century, Robert Hayden employed the modernist techniques of European and American contemporaries to establish basic Afro-American cultural and historical experience as an enduring mythology of epic potential. The first Black person to win the Pulitzer prize for poetry, Gwendolyn Brooks dramatically conceived lyrics register the many nuances of the Black voice and vision, as she records the conduct of daily life within the Black community and meditates upon the themes of love and struggle in the face of racism. The class will study major texts of these three poets and will analyze the aesthetic and philosophical premises that inform them. Attention will be paid to the social and literary contexts in which these poets developed their works and to the Black canon which they inherited and helped create and extend. Class work will consist of reading, discussion, two short papers and one research paper. [Cost:2] [WL:1] (Chrisman)
423. The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.
Section 001 – In this class we'll be writing, reading, and talking about fiction. Students who sign up for the class should expect to complete fifty pages of fiction;they should be willing to revise what they already have written. Participation in class discussions will be essential to the success of the course. Students who wish to be in the class should place their name on the Wait List at CRISP and bring a manuscript to class the first evening. A list of those accepted will be posted before the next class meeting. [Cost:1] [WL:1] (Baxter)
Section 002 and 003 – FICTION WORKSHOP. English 423 is an advanced fiction writing workshop. The writing experience and basic elements of narrative technique will be explored. We will consider a number of literary texts by established authors, developing a deeper understanding of how a literary text works. The course finds it primary focus, however, in the production and discussion of new work by workshop participants. Students who want to enroll should put their name on the waitlist at CRISP and bring a copy of a manuscript they've written to the first day of class. [Cost:1] [WL:1] (Belton)
427. Playwriting. Permission of instructor. (3). (Excl). May be repeated for credit.
This is an advanced playwriting class in which students write their own plays, which are performed by theatre students. Students should have some previous experience in playwriting. Admission is by permission of instructor. Students interested in joining the class should put their names on the Wait List at CRISP and leave a phone number and address with the English Department Main Office, 7611 Haven Hall. You will be contacted when more details become available. [WL:1]
428. Senior Writing Tutorial. English 223, 323, and 423/429 or equivalent (3). (Excl).
English 428 is a thesis tutorial/workshop for English Concentrators who have been accepted into the Undergraduate Creative Writing Program. Students in the program should see the instructor for an override and attend the first class meeting. [Cost:1] [WL:3] (Holinger)
429. The Writing of Poetry. Written permission of instructor is required. (3). (Excl). 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. [Cost:1] [WL:4] (Goldstein)
430. The Rise of the Novel. (3). (Excl).
As its name implies, the novel as a genre defines itself in terms of its newness. Both Samuel Richardson and Henry Fielding confessed that they had invented a "new species" or "new province" of writing. One of the central questions that this course will seek to answer is how and why did writers of prose fiction in the eighteenth century make their work seem new? Since a literary work, even one professing to be new, does not exist in an informational vacuum we will want to establish the context of the novel's novelty. What is unique and what is borrowed in the works of eighteenth-century novelists? Where do influence and inspiration meet? How does tradition or expectation produce innovation? Examining writers from Aphra Behn and Daniel Defoe to Laurence Sterne and Mary Shelley we will, over the course of the term, raise these and other issues in both lecture and discussion format. Requirements will include occasional informal assignments, two formal essays and a final exam. Committed and informed participation in discussion periods will be expected of all students. [Cost:2] [WL:1] (Flint)
432. The American Novel. (3). (Excl).
THE AMERICAN NOVEL: IDENTITY, ETHNICITY, AND THE NATIONAL CHARACTER. Who is an American? Throughout virtually the whole of our history, novelists have attempted to identify, codify, and specify the elusive nature of what it means to be an American. While characteristic elements of the national character have been said to change with the passage of time, certain attributes appear to transcend - or conflate with – regional, ethnic, and racial variables. In this lecture course we will therefore examine a multiplicity of national identities, spanning both a wide chronological period and a complex assortment of identities. The impossibility of consensus on what, exactly, is an American makes the task of answering that question all the more fascinating. Novels likely to be read include the following: Hawthorne's HOUSE OF THE SEVEN GABLES, Cooper's DEERSLAYER, Stowe's UNCLE TOM'S CABIN, Twain's CONNECTICUT YANKEE IN KING ARTHUR'S COURT, Wharton's HOUSE OF MIRTH, either Yezierslca's BREAD GIVERS (OR STORIES) or Cahan's YEKL, Wright's NATIVE SON, Marshall's BROWN GIRL, BROWNSTONES, Kingston's WOMAN WARRIOR, Silko's CEREMONY, or Hijuelo's OUR HOUSE IN LAST WORLD. Along with the primary readings, some theoretical articles in anthropology and/or sociology may be assigned as well. A previous acquaintance with American literature would be helpful. There will be two short papers and a final examination. [Cost:3] [WL:1] (Zafar)
433. The Modern Novel. (3). (Excl).
Our approach to the "modern novel" will involve attention to both intellectual and social history. How did modern writers conceive the purpose (or purposes) of literary expression? What were the aesthetic standards and debates of the period? Was modern artistic experimentation at odds with the demands of social and cultural critique or was it the product of new critical imperatives? To what extent is "modernism" comprehensible and explicable? These are some of the questions we will consider in reading the work of such writers as Conrad, Lawrence, Lewis, Chesterton, Woolf, Dos Passos, Joyce, and Hemingway. We will supplement our reading in novels with diverse materials – reviews, letters, manifestos, and other telling odds and ends – collected in a course pack. Students should have some background in English literature before 1900. The class will be taught through a combination of lectures and discussion. There will be short quizzes, a midterm, and a final, though students will be evaluated primarily on their writing. [Cost:3] [WL:1] (Leon)
434. The Contemporary Novel. (3). (Excl).
This course will examine novels from a wide range of national literatures in an attempt to place the genre within contemporary culture. It hopes to make readers more self-conscious about how and why they read and what the role of fiction-making is in a world represented by the photo image and the sound bite. It aims to introduce readers to concepts like postmodernism, magical realism, and post-colonialism by addressing the influence of mass culture, literary history and political systems on the novel. Particular attention will be paid to issues of gender, race and sexuality as they affect questions of authorship, modes of story-telling and the construction of protagonists. Readings will include Calvino's IF ON A WINTER'S NIGHT A TRAVELER, Marquez's, ONE HUNDRED YEARS OF SOLITUDE, Duras' THE LOVER, Morrison's BELOVED, Barthelme's SNOW WHITE, Carter's NIGHTS AT THE CIRCUS, Rushdie's MIDNIGHT'S CHILDREN and Atwood's CAT'S CRADLE. There will be several short papers and a final exam. [Cost:4] [WL:1] (Herrmann)
441. Contemporary Poetry. (3). (Excl).
A study of five American poets whose careers span the period between the end of WWI and the present: Elizabeth Bishop, Robert Lowell, Sylvia Plath, Allen Ginsberg, and Gary Snyder. Lowell, Plath and Ginsberg represent in widely different ways the autobiographical poetry of extremity and psychic violence that has characterized the movement sometimes referred to as "confessional." Snyder figures as a spokesman for the ecological balance of the natural world, for the values of the "counterculture" and for the influence of Oriental ideas on Western Culture. Bishop, perhaps the transcendent "pure poet" of our age, defies brief background for this course. A midterm and two papers, one short and one long, will be required. Lecture/discussion. In addition to their poetry, we will read selected prose works. [Cost:3] [WL:1] (Tillinghast)
442. History of Poetry. (3). (Excl).
If poets are inspired by a transcendent Muse and yet record events in the world's space and time, what is the history of poetry? If poets create a personal song and story and yet are influenced by patrons, priests, and poets, what is the history of poetry? This course will examine the validity and applicability of its very title. We shall read poems from all periods of English poetry as well as translations from other cultures including Old Irish, Greek, Latin, Sanskrit, and Japanese. We shall look at how poetry may have stood in relation to other kinds of discourse in various cultures at various times. Topics will include: oral formulaic poetry; Indo-European versification; chant; narrative; classicism; canon; counter-culture; influence; period; genre; difference; originality; schools; style; expression; creativity; and so on. Considering such topics, we shall ask how they can be understood historically. If we are up to it, we may even begin to ask about the historiography of poetry. But even though we shall range widely, our main focus will always be on the history of poetry in English: how it can be described, alternative ways of conceiving it, and questions about its meaning and coherence. We shall consider, for example, the decline of alliterative poetry, the origin of iambic pentameter, the sonnet in English, the English ode, the changing idea of poetic career, and the diversity of contemporary American poetry. Beyond this, every student in this course must formulate a specific individual or collaborative project to consider some topic in the history of poetry. This project will culminate in a long essay and possibly an oral presentation. No prerequisites, but the course clearly presumes knowledge of, and interest in, poetry. If you have read no Chaucer, Milton, Blake, Dickinson, or Stevens, you may find yourself over your head. But specialists are very welcome. For example, if you know contemporary poetry well but not much else, enroll and plan to learn. Or if you write poetry and respond deeply to several poets ancient and modern, enroll knowing that you will come to understand more clearly how you are part of the history of poetry. Required texts: the NORTON ANTHOLOGY OF POETRY, a thick course pack, and a book by a contemporary poet. [Cost:2] [WL:1] (Smith)
444/Theatre 322. History of Theatre II. (3). (HU).
See description under Theatre and Drama 322. (Cohen)
447. Modern Drama. (3). (Excl).
Careful reading of representative British and Continental European plays from the beginnings of the modern drama in the late 19th century to the time of World War II. (American Drama is the province of English 449; post WWII drama is covered in English 448.) Consideration of plays in their relationships to dramatic movements, theatrical backgrounds, social forces, world events, and trends of thought. Readings will be chosen from among these playwrights: Ibsen, Strindberg, Chekhov, Shaw, Pirandello, Brecht, and several others (e.g., Hauptmann, Büchner, and the dramatists of the Expressionist movement). Required "outside" readings may be chosen from among these or a list of works by other representative playwrights of this period. Lectures and discussions, the quantity of the latter dependent upon class size. Some secondary readings in addition to the basic list of plays and "outside" choices; about 25-30 plays in all. Students will write two papers (the second longer than the first), keep a reading log, and take a final examination. [Cost:2] [WL:1] (Bauland)
448. Contemporary Drama. (3). (Excl).
This course will range widely in the field of contemporary drama as it has developed in England, Europe, and America since the Second World War. Although English 447 (Modern Drama) is not an official prerequisite, students with a background in the theater language of Ibsen, Chekhov, Strindberg, Shaw, Brecht, and Pirandello will have a distinct advantage, as will students with a firm grounding in Shakespeare. Playwrights whose work will be studied include Samuel Beckett, Eugene Ionesco, Harold Pinter, David Hare, Caryl Churchill, Tom Stoppard, Arthur Miller, Lillian Hellman, Sam Shepard, David Mamet, Hanif Kureishi, Ntozage Shange, Maria Irene Fornes, Marguerite Duras, Friedrich Durrenmatt, and Heiner Muller. [Cost:4] [WL:1] (Brater)
449/Theatre 423. American Theatre and Drama. (3). (HU).
This course will seek to accomplish two things: (l) to provide an overview of the development of the American theater from its nineteenth-century beginnings to its present institutional organization, and (2) to explore some of the more interesting dramatic achievements of this tradition. Among the many historical, theatrical, and dramatic issues that this course will raise, we will explore the following: the development of Broadway as a center for commercial theater and the consequent development of regional theaters; "serious" and "popular" theater; the Federal Theater; the Group Theater; naturalism, expressionism, agit-prop, and the avant-garde; formal innovation within American drama; the theater and political challenge; theories of acting; scenography and the theatrical image; the search for theatrical language; Off- and Off-Off-Broadway; gender, race, and theatrical representation; non-traditional dramatic voices; Black theater; critiques of "Americanism"; developments in theater technology; theater, cinema, and television. Dramatists will include O'Neill, Odets, Williams, Miller, Albee, Shepard, Baraka, Shange, Rabe, Mamet, Fornes, and Hwang. The course will be conducted as a lecture/discussion: in addition to regular attendance and participation, students will be expected to participate in impromptu performances of short scenes. Other requirements: two papers and a final examination. Textbooks will be ordered through Shaman Drum Bookstore, 313 S. State. [Cost:3] [WL:1] (Garner)
450. Medieval Drama. (3). (Excl).
Survey of the various types of medieval drama from Latin liturgical plays to the vernacular mystery plays, miracles and saints plays, moralities, interludes, and popular farces and folk plays, with an emphasis on the English tradition but with significant attention paid to the French, Dutch, and German as well. Theatre historical perspectives and iconographic/art historical research will be put to the test in exploratory scene-work and other reconstructions. (A portion of the class, for example, will be devoted to an upcoming theatre project, the staging of a 12th century elegiac comedy, BABIO in the original Latin.) Those with backgrounds in art history, religious history or medieval Latin are also encouraged. Principal text: The anthology, MEDIEVAL DRAMA (1975) edited by David Bevington. [WL:4] (Walsh)
455/MARC 455. Medieval English Literature. (3). (HU).
This lecture/discussion course will not survey the whole body of medieval writing in England, but will instead focus on the two great outpourings of literature in the English vernacular: the tenth and the fourteenth centuries. We will start with BEOWULF and a few shorter poems in Old English; continue with one of the first pieces in Middle English, the debate poem THE OWL AND THE NIGHTINGALE; and spend the rest of the term sampling the major varieties of English writing primarily from the fourteenth century. These varieties include lyric, romance, drama, alliterative poetry, and religious prose; we will read from among works such as SIR GAWAIN AND THE GREEN KNIGHT, PEARL, PIERS PLOWMAN, SIR ORFEO, THE WEDDING OF SIR GAWAIN AND DAME RAGNELL, the alliterative MORTE D'ARTHURE, and Dame Julian of Norwich's mystical REVELATIONS OF DIVINE LOVE. Readings will be in the original or translation, depending on length or linguistic difficulty. Though the course includes no Chaucer, you will come out of it with a broad understanding of his cultural and literary contexts. Work for the course includes in-class exercises, two hour examinations, perhaps a paper, and some form of final examination. [Cost:3/4] [WL:1] (Taylor)
459. English Neoclassical Literature. (3). (Excl).
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. [WL:4] (Cloyd)
461. English Romantic Literature. (3). (Excl).
In this course we shall study the literary period now known as the British Romantic era (approximately 1790-1830). By examining the political, social, economic, religious, and philosophical crises that provide the historical context of romanticism, we shall explore how the literature is written in response to these crises, and how it contributes to the cultural changes of the time. The course surveys a variety of texts, both from within the canon and from outside it, asking how these literary works are similar or different structurally, thematically, and ideologicaliy. In addition to selections from the six famous romantic poets (Blake, William Wordsworth, Coleridge, Byron, Percy Shelley, Keats), we'll read poetry, criticism, nonfiction prose, and one Gothic novel by less familiar writers. This course is conducted through class and small group discussion. Students are required to write several short essays with one optional revision, and are required to do peer evaluations of essays. [Cost:3] [WL:1] (Ross)
463. Modern British Literature. (3). (Excl).
This course focuses on some of the finest work of three modern masters: Yeats, Joyce and Woolf. Texts will be THE SELECTED POETRY OF W.B. YEATS, YLYSSES, BETWEEN THE ACTS, and either MRS. DALLOWAY or TO THE LIGHTHOUSE. There will be exercises in explication of Yeats and Joyce and a term paper (10 pages). We will try to work closely with the texts in class without ignoring relevant background. One need not be an English concentrator to like this course. Previous acquaintance with A PORTRAIT OF THE ARTIST AS A YOUNG MAN, however, would be helpful. [Cost:2] [WL:1] (Schulze)
469. Milton. (3). (Excl).
This course will study all of Milton's major poems, and a substantial amount of his prose, in the context of Milton's own social and political experience. We will be particularly concerned with exploring Milton's complex attitude to the relationship between divine and secular forms of authority, and to relations between the sexes. We will also investigate Milton's frequent recourse to the materials of the Bible and of classical epic, especially in the uneasy blend of the two that produces PARADISE LOST. The course will mix lecture and discussion. Requirements include two papers (one short, one long), attendance, participation, a final examination, and a willingness to grapple with the work of a demanding but rewarding poet. The texts will be ordered through Shaman Drum Bookshop, 313 5. State. [Cost:2] [WL:1] (Schoenfeldt)
471. Nineteenth-Century American Literature: Key Texts. (3). (Excl).
A survey of nineteenth century American fiction, non-fiction, and poetry up until the Civil War. The course will identify important cultural dilemmas and opportunities facing American writers of this period, most notably the emergence of a national culture, the question of a truly "democratic" literature and what this means, the impact of slavery as well as other explosive issues of the time. Authors to be studied include Hawthorne, Poe, Melville, Stowe, Thoreau, Whitman, and Dickinson. Requirements: two short papers, midterm, and final exam. [Cost:2] [WL:1] (Larson)
472. Twentieth-Century American Literature: Key Texts. (3). (Excl).
Section 001 – MYTH AND AMERICAN COMMUNITY. Mythographer Joseph Campbell has called myth the secret opening through which the inexhaustible energies of the universe pour into human cultural manifestation. A dream is a private myth. A myth is a public dream. 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. Exemplary texts include novels by Dreiser, Fitzgerald, Faulkner, Morrison, Erdrich and many others. Class participation and regular attendance are absolutely required. Papers due at midterm and term's end. [Cost:4] [WL:1] (Belton)
Section 002 – WRITERS OF THE TWO WORLD WARS. The two World Wars – in particular, the first "Great War" – had the most profound influence in shaping the character of at least two American literary generations and the work they produced. The course will be devoted to study of that influence, the effect of the war experience in determining attitudes toward life, and literary preoccupations and styles – the ironic, cynical, satirical and "Black Humor" modes in the novel. The similarities and differences between the responses of the World War I and World War II generations will be examined in the work of Remarque (the only non-American), Dos Passos, Hemingway, Fitzgerald, Heller, Burns, March, Mailer, and Vonnegut as well as some of the poets. Lectures and discussion. Two short papers will be required. [Cost:3] [WL:1] (Aldridge)
473. Topics in American Literature. (3). (Excl).
UTOPIA IN AMERICAN LITERATURE. This course will survey expressions of the utopian impulse – a desire for radical social restructuring - in American literature. We will begin by studying two decidedly un-American works that establish the nature of the utopian genre: Plato's REPUBLIC and More's UTOPIA. With the features of the genre established, we will analyze the most important instances in American literature: Bellamy's LOOKING BACKWARD, Howells' A TRAVELLER FROM ALTRURIA, Gilman's HERLAND, and Jack London's THE IRON HEEL. London's work points toward the anti-utopian works that flourished in mid-twentieth-century: we will read two of these, Kurt Vonnegut's PLAYER PIANO and Ray Bradbury's FAHRENHEIT 451. Finally, we will study the re-emergence of utopias in the 70s – Ursula Le Guin's THE DISPOSSESSED and Marge Piercy's WOMAN ON THE EDGE OF TIME – and Margaret Atwood's dystopia THE HANDMAID'S TALE. There will be a term paper and midterm and final exams. The format will combine lecture and discussion. Books for the course will run about $40.00. [Cost:2] [WL:1] (Beauchamp)
478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (Excl).
Many English concentrators are discovering that twentieth-century Afro-American literature is where the action is. Beginning with the Harlem Renaissance, students will discover such exciting writers as the Jamaica-born Claude McKay and uptown socialite Nella Larsen. The Big Three of mid-century – Richard Wright, Ralph Ellison, James Baldwin – will be given their just due, but some lesser-known lights will be introduced as well. Those unfamiliar with Pulitzer-prize winning Toni Morrison will have their chance to read her work, but our examination of contemporary writers won't stop there. Although Afro-American prose writers will be featured, many poets - Langston Hughes, Gwendolyn Brooks, Robert Hayden, and Audre Lorde among them – will be represented as well. By term's end, the distinctiveness of Afro-American writing will be revealed in all of its multiplicity. Although familiarity with Afro-American literature and culture will be useful, English 477/CAAS 475 is not a prerequisite. In addition to the major works, some theoretical articles may also be assigned. Come to class prepared to do close readings and have lively discussions. Required: Two short papers, an exam, and (class size permitting) an oral report. [Cost:3] [WL:1] (Zafar)
482. Studies in Individual Authors. (3). (Excl). May be repeated for credit with department permission.
Section 001 – This course will involve the study of three great books: Homer's ODYSSEY, Dickens' DAVID COPPERFIELD, and Joyce's ULYSSES. It will stand on its own, and may be elected on its own. It can also be taken in conjunction with any or all of three mini-courses (English 483, Sections 002, 003, and 004), each of which will study another great book related to these three: Dante's DIVINE COMEDY, Virginia Woolf's TO THE LIGHTHOUSE, and Ralph Ellison's INVISIBLE MAN. The theme for English 482 and for the whole package of six books is the idea of "home." For all but the final week of the term English 482 will exist as a set of three mini-courses. On Mondays we will study the ODYSSEY, on Wednesdays DAVID COPPERFIELD, and on Fridays ULYSSES. We will spend twelve class hours on each book, without attempting to connect them. Then for the last week of the term – and for the final class meeting of each of the associated mini-courses – we will talk about all six books as they relate to each other, hoping to make some sense of our theme. The requirements for English 482 will be thorough, thoughtful reading of the ODYSSEY, DAVID COPPERFIELD, and ULYSSES, and a paper on the theme of "home" in these three books, plus "scribbles" at the end of each class period. Students electing one or more of the related mini-courses will be expected to write a single paper on all of the books in the package of courses they have taken. This arrangement may seem awkward. For the awkwardness I apologize. I am confident that we can all learn something significant from our undertaking, however. The least we will do is enjoy a somewhat leisurely but thorough reading of three, four, five, or six great books. If all goes well, we will make for ourselves a larger, more comprehensive understanding of "home" and its history, from the stories of Penelope and Odysseus through to modern times. By postponing until the final week of the term our discussion of the relationships among our books, we will give ourselves the chance to develop, independently, our ideas concerning them and the theme of "home" or "homing" which they share. At the end of the term you will turn in your papers, containing your ideas about the relationships among these books and the significance of such relationships. Instead of writing a paper I will do an oral report, for the last week, as your professor. And since I plan to comment on your papers, I will expect you to discuss and argue with my presentation. We will use the Richmond Lattimore translation of the ODYSSEY, the Penguin edition of DAVID COPPERFIELD, and the Vantage ULYSSES. Get busy with your reading over vacation. Both DAVID COPPERFIELD and ULYSSES are long. [Cost:1] [WL:1] (Hornback)
483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.
Section 001 – FORSTER, MANSFIELD, LAWRENCE. The theme for this mini-course will be the New Woman in British literature, for which we will study HOWARD'S END by E.M. Forster, WOMEN IN LOVE by D.H. Lawrence, and selected short stories by Katherine Mansfield. Our close textual readings will include careful analyses of the social and historical issues with which each author deals, in particular the changing role of women in the early part of this century. Although virtually every major writer in Britain addressed the "woman question," conflicting portraits of the modern female (and, one might add, the modern male) emerge from each writer's work. We will identify and analyze these fictional "solutions" to the problem of shifting gender roles. Class format will be lecture/discussion; you will write two short exams and a final brief essay. [Cost:1] [WL:1] (Blankley)
Sections 002, 003, 004. Each of these courses may be elected independently, as a one-credit mini-course. Each will study, for twelve hours, a single great book. Section 002 will study Dante's DIVINE COMEDY, section 003 will read Virginia Woolf's TO THE LIGHTHOUSE, section 004 will be devoted to Ralph Ellison's INVISIBLE MAN. Part of our focus, in each course, will be on the idea of "home." On the final class day for each section, we will look at the relationships among the three books studied in these mini-courses and the three books studied in English 482, described above. If you haven't read all six books – taken all three mini-courses as well as English 482 – the final class hour of the term may be of limited value to you; except for that final hour, however, each book will be examined on its own, separate from the others. The course requirements for each of the sections of English 483 are a thorough and thoughtful reading of the book assigned, a paper on that book, and weekly scribbles. Students electing more than one of these related mini-courses or any of these mini-courses plus the related English 482, described above may write a single paper for the whole package of elections. See the description of English 482 for more information about papers. We will use the Ciardi translation of DANTE (Mentor edition),the Penguin edition of TO THE LIGHTHOUSE, and the Vintage edition of INVISIBLE MAN. [Cost:1] [WL:1] (Hornback)
489/Educ. D 440 (School of Education). Teaching of English. See School of Education Bulletin. (3). (Excl).
ADMISSION BY OVERRIDE ONLY. This cross-listed course is the methods course required of English concentrators who seek certification. Enrollment in Education 307 is concurrent. [Cost:3] [WL:1] (Robinson)
495. Honors Survey: The Twentieth Century. Admission to the English Honors Program. (3). (Excl).
This course is open only to students in the English Department's Honors Program. The course concentrates on a study of literary modernism through fiction and poetry. Poets such as Yeats, Eliot and Auden are included. Novelists are likely to include James, Ford, Woolf, Lawrence and Joyce. A post-modern novel may be included as well. A number of short papers and a midterm are required. The course will proceed through discussion and the thoroughly interruptible lecture. (Gindin)
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. English 496 is used for the combination of thesis and comprehensive exam in Honors and all students should attach their ECB modifier to this course at CRISP. [Cost:None] [WL:For students in Honors program only.] (Gindin)
Section 002 – This course is to be elected by students writing a thesis in the Alternate Honors Program this term. [Cost:1] [WL:This course is by arrangement with a professor in advance and will not be waitlisted.] (Creeth)
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