Courses in English (Division 361)

For all English classes, registered students must be present at each of the first two meetings to claim their places. Any student who does not meet this requirement may be dropped from the course. NOTE: If you must miss a class due to religious observances, contact the instructor or leave a message for the instructor with the department (764-6330).


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.

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

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 14, 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 19.

Primarily for Freshmen and Sophomores

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

212. Introduction to Cultural Criticism. (3). (Excl).

This is a Collegiate Fellows course; see page 3 for a complete list of Collegiate Fellows courses and the Time Schedule for details of time and place.

How do you decide, when you open a book, whether what you are reading counts as "literature" or not? Just what is going on when you read, or tell stories, or watch television, anyway? This class is designed to explore and challenge common assumptions about literature, language, and culture; to disclose the active role of narrative in shaping self and society; to open up a critical perspective on the workings of our own culture. More particularly, we will spend time on such topics as the representation of women, the concept of race, "English" as a field and the university as an institution, and some examples of "high" and "low" culture. I will present some material about the currents of contemporary thought out of which the ideas developed in this course emerge. and suggest ways in which students can learn more about them, but this will be an encounter with what is called "critical theory" rather than an intellectual history course. No prerequisites except an open mind and a willingness to participate in class discussion. Readings: by Freud. Melville, Saussure, Foucault, Raymond Williams, Grace Paley, Toni Morrison, Adrienne Rich and others, from Shaman Drum Bookshop and Dollar Bill Copying. Assignments: frequent brief "scribbles," 3 short papers, a final, and an oral presentation. This class is part of the group of "critical thinking" courses developed in LS&A over the past few years, we will explore the meaning of that term and try to put it into practice. It will even be all right for students to question the accuracy of the teacher's views at least, I will do my best to remain calm. Cost:2 or 3. WL:1. (Howard)

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 19.

Section 010. A special section: Creative Writing and the other arts. This section of 223 explores ways of combining writing with other forms of art in various media, including pictorial/graphic and performance arts. It presupposes experience with at least one art form and interest in finding ways of combining it with others in a workshop setting of collaboration and group discussion. (Wright)

225. Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).

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 19.

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 in a professional workshop setting. Focus is given to development of dialogue, characterization, structure, and expressive authenticity. Students will write numerous scenes, a monologue play, and a longer one-act play to be read aloud in class by actors assigned to the class. Those interested in enrolling should add their name to the waitlist at CRISP and leave their phone number with Ari Roth, 1638 Haven Hall, to sign up for an interview the day before the first class. [Cost:1 or 2, including Xeroxing of students own work] [WL:1] (Roth)

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. HONORS Section. 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. [Cost:2] [WL:1] (Rabkin)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).

Section 001. 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. In the course we will 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 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 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 period and attention to poetry of the 1980s, especially by women. Some assigned works will be by poets coming to campus this term under the auspices of the Visiting Writers Series. 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 and discussion. 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, in-class writing and exercises, two reports on poetry readings, two papers, exams. Cost:2. WL:1. (Ellison)

Section 003. We shall study the traditional and modern forms of English and American poetry, with special attention to the close reading of great examples of the principal forms. We shall proceed chiefly by discussion, supported by short papers, quizzes, a midterm, and a final exam. Participation in a computer conference is a required part of the course. A major object is to enable students to read and appreciate poems written from points of view and with purposes not immediately obvious or even sympathetic to an unskilled modern reader. English 240 is a prerequisite for English concentrators, but it is also open to all University undergraduates. (Cloyd).

Section 004. Too often poetry is seen as a literary form that only dedicated writers, academics, and their victims (students) read. I hope that the experience of reading and discussing poems in this course will encourage you to read poetry without teachers, outside the University classroom. The class will provide you with extensive practice in close reading that should challenge and develop your interpretive abilities. I hope it will also develop your ability to write literary essays. Our discussions throughout the term will repeatedly raise questions about the act of reading, of interpretation itself. How does a community of readers arrive at a consensus on the meaning of a poem? We will work from two anthologies: The Norton Anthology of Poetry and Up Late: American Poetry since 1970. Course requirements are a class presentation, two short papers (2 pp.), two slightly longer papers (5 pp.) and a final essay (10pp.) on the work of a poet of your choice. Participation in discussions is required; attendance is mandatory. [COST: 2] [WL:l] (Whittier-Ferguson)

Section 005. This is an introductory course in the art of poetry. We will acquire a critical vocabulary to experience and talk about a wide range of masterpieces in the lyric, some of which will be post- modern and make it difficult to say "something important about something." But that is our challenge, to develop over the term tough minded yet sensitive ways to respond to language at its most heightened and concentrated moments of expression. I will introduce you with a minimum of fuss to a useful terminology with which to sharpen and direct your perceptions of poetic techniques and effects, of particular poets and poems. We will try not to forget that, in the words of one critic, "art does not exist to be argued about, but to be perceived and assimilated (some of you may want to argue with that). Be prepared to talk, and not simply exult. A series of short exercises, and a longer essay at the end. Texts: The Norton Anthology of Poetry (complete); John Hollander, Rhyme's Reason. [COST: 2] [WL:l] (Herold)

Section 006. What are the advantages of writing poetry? What effects and pleasures are unique to poetry's impact upon the reader? In this section of 240 we will consider the ramifications of the literary choice an author makes when he or she decides to write a poem rather than an essay, a novel, or other prose piece. We will work toward receiving the full benefits of poetry by learning to appreciate the uses of various poetic techniques. Always we will be aware of poetry's self-conscious art and its seeming naturalness. We will read a range of poets who write in English, from the Renaissance to the present. There will be several short (5-7 pages) papers and an exam. (Artis)

Section 007. 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, thought 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, Victorian, and Modern periods. We shall probably use WESTERN WIND by John Frederick Nims. Daily squibs (one page ungraded responses to poetry and four short papers. Cost:1. WL:1. (Creeth)

Section 008. The aim of this course is to learn to read poetry by doing it together. We shall give close attention to a series of poems drawn from different periods. Our focus will be on what makes each poem work as a poem: its formal and metric structure, its imagery, the tension between its rhythms and those of ordinary speech, its tones of voice and imagined speakers, its ironies, ambiguities, allusions, and surprises. Our central questions will be what kind of meaning each poem has and how that meaning is made. During the course you will be exposed to many different forms of poetry and many different authors. At the end we will spend a few weeks on the work of a single poet, to be chosen by me after consultation with the class. This is a discussion class and accordingly your attendance and participation are strictly required. There will be three short papers, a midterm, a final and a series of short exercises. This course is required for English concentrators. The text is the NORTON ANTHOLOGY OF ENGLISH POETRY. (White)

Section 009. HONORS Section. Why read poems? This course will explore answers to that question by sampling poetry from various countries and times and by talking with poets. Through class discussion and frequent writing activities, students will define for themselves the value of poetry and the critical methods best suited to understanding and appreciating it. Readings will be taken from the Norton Anthology of Poetry, a course pack, and some recent publications by members of the English Department. Throughout the course, we will attend poetry readings and invite poets to come in and discuss their work with us. Students should be ready to participate actively. Requirements: daily writing exercises, reports on poetry readings, two critical papers, exams. [COST: 1 or 2] [WL:4] (Tinkle)

Section 010. The work in the course includes these: (1) reading and rereading of assigned poems; (2) many short "overnight" written paragraphs and exercises based on assigned poems; (3) some short in-class impromptu written pieces; (4) at least one group project; (5) recitation to the class of at least fifty lines of memorized poetry; and (6) regular participation at least twice weekly in a computer course conference. There will be a handful of interruptible lectures during the term; most of the class meeting time will be given to discussion. often in small groups. [COST: 1] [WL:l] (Van't Hul)

Section 011. A course in how to understand and enjoy poetry. Poems from all periods of English literature as well as from other languages and cultures will suggest literary history and the possible functions of poetry (e.g., story-telling, religious chanting, song and dance, social criticism, self-expression). An array of contemporary examples will indicate the situation of poetry now. Our approach will involve close reading, written analysis, discussion, some memorization, and the acquisition of a large technical vocabulary enabling a full understanding of poetic meter and form. We shall avoid an intellectual response to poetry which evades feeling, but this will not be course in "poetry appreciation." Students should want themselves to become rigorous, subtle, intelligent, alert, responsive readers. Graduates of the course ought to be able to take any poem, read it intelligently (or know what else they need to know to do so), and have a sense of how good it is, why, and for whom. Texts will be a study guide (supplied) and a course pack. (Smith)

Section 012. This section will take a predominantly historical approach to the study of poetry. At times, we will depart from the chronology to examine how a specific form, such as the sonnet, has been used by writers of different eras. Students should expect to keep a written record of their responses to the poetry, take a mid- term and final, and write between 2 and 4 formal essays. Participation in class discussions is expected. (Goff-Stoner)

Section 014. Though to some extent I have had to sacrifice breadth of coverage in favor of a reading list short enough to allow you to study the assigned material with the care and attention to detail that I shall expect, I shall still be introducing you to a sensible diversity of poems written in English between about 1600 and the present. Most of these selections can be found in the NORTON ANTHOLOGY OF POETRY (3rd shorter edition); but you will need to purchase a course pack for some of the assigned poems, and also for the biographical notes, essays, and other background information that I have included there. My syllabus organizes this material neither chronologically nor by genre but in seven sections, each of about two weeks' duration; in most cases, these focus on a particular theme or area of subject matter (broadly construed). Thus, we shall study poems about poetry, poems drawing on the cultural heritage of Ancient Greece and Rome, poems with elegiac tone and content, poems about love, and poems that address topical events. But we shall also attempt to improve our understanding of the formal properties of verse by isolating and examining the sonnet as a poetic form, and by considering the various ways in which poetry enacts its own meaning when engaging in types of imitation. Though I shall probably offer a few brief and informal lectures, I shall also be calling on each of you to deliver several short "oral reports," to clarify allusions or other references that might otherwise escape us. My further requirements are that you attend class regularly and punctually, contribute actively to our discussions, and write 3 shorter papers (3-5 pages each), and a longer one (5-8 pages). (Hillyer)

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

See Theatre and Drama 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)

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

Section 001. Contemporary American novelist John Irving once observed that "Half my life is an act of revision." In this course, we will be examining the act of revision closely, not in terms of an individual author's own work (as the Irving quotation suggests) but in terms of how writers revise the work of others. Subtitled "Visions and Revisions," this course will, therefore, examine four canonical works written between 1611 and 1899 that more contemporary writers and film makers have adapted. The four original texts are Shakespeare's The Tempest, Defoe's Robinson Crusoe, Brontë's Jane Eyre, and Conrad's Heart of Darkness. The "re-visions" include Cesaire's The Tempest, Mazursky's modern film adaptation of Shakespeare's play, Bishop's "Crusoe in England," Coetzee's FOE, Bu uel's film version of Robinson Crusoe, Rhys' Wide Sargasso Sea, one of the film versions of Jane Eyre, and Coppola's Apocalypse Now. Questions to be addressed will include: How do writers both challenge canon formation (the body of established literary "masterpieces") and confront racial and sexual assumptions of the past by rewriting 'great' works of art? What anxieties of influence do modern writers experience in relation to previous literary accomplishments? How do film makers imagistically recreate the written word? Students will practice the art of revision in two essays of their own. They will also be required to write a midterm and a final and participate actively in class discussions. Cost:2. WL:1. (Flint)

Section 002. LITERATURE, EUGENICS, AND MODERNITY. When, during the early twentieth century, eugenics became a popular extension of progressive thinking in England and the United States, many modern writers found themselves involved with eugenic debates. Society appeared to encourage the reproduction of the "unfit" at the expense of the "fit." Eugenicists hoped to reverse this tendency with the aid of propaganda and the State. Ready to take evolution in hand, they promised a Utopia of sound minds in sound bodies an improved human race. The results were disastrous. Reading Mary Shelley, G. K. Chesterton, George Bernard Shaw, Jack London, Virginia Woolf, T. S. Eliot, Bertrand Russell, Aldous Huxley, and others, we will explore a range of eugenic expression and criticism. What made eugenic ideas so attractive to citizens of the period? In what ways did popular eugenics and "modernity" complement each other? The class will be responsible for several short "thoughtpieces," a midterm, two short papers, and a final research paper of ten to fifteen pages. Students wishing to get a head start may read Daniel Kevles' In the Name of Eugenics. Cost:2. WL:1. (Leon)

Section 003. AMERICAN DREAMS, AMERICAN NIGHTMARES. An attempt to understand the hearts and minds of Americans by examining the nature of American dreams and the ways those dreams are distorted into nightmares. The course will examine several genres: novels, stories, plays, and film. Special emphasis on American heroes and icons as varied as Jackie Robinson, Marilyn Monroe, and Jay Gatsby. Concentration on the literary work of F. Scott Fitzgerald, Bernard Malamud, Nathaniel Hawthorne, Flannery O'Connor, August Wilson, and Grace Paley. (Harrison)

Primarily for Juniors and Seniors

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

The work in this course consists of reading four books and writing four papers. Two drafts of each paper are required. Participation in a course computer conference is also mandatory. Students are encouraged to write in a voice that is natural to them. They are urged to explore the advantages of simplicity and directness. Class time is divided fairly equally between discussions of substantive issues that come up in the books and discussions of problems in writing. This course fulfills the Junior/Senior writing requirement for non-English concentrators. (Meisler)

309. American English. (3). (HU).

The most innovative literature, according to a reviewer in The New York Times, is now being written not in Britain or the United States but in "emerging" nations where English is used as a result of prior colonialization. Through readings in fiction, drama, and poetry, we will read in these "new" literatures attempting to discover how writers have solved the problems of "authenticity" and "community" through English. Political issues surrounding the use of English (vs. local languages) also set the context for this literary creativity, and, through a course pack, we will see how the context shapes creative writing. Our readings will focus on Ireland (the first nation to suffer from English colonization), the Caribbean, and West Africa. What these writers have in common with us, of course, is the struggle to find a "voice" that speaks their own experience, and English 309 will illuminate that common struggle in the resemblances between our world and theirs. Several short papers, a midterm, and final examination. This course fulfills the New Traditions requirement for English concentrators. Cost:2. 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. INCONTINENT WOMEN AND THE RENAISSANCE STAGE. "Tell but some woman a secret over night,/Your doctor may find it in the urinal i'th'morning." The formula is one of the uglier moments in Renaissance drama: the sentiment is one of the most common. The logic goes like this: women are not intact, they can hold nothing in: their bodies are a figure for their minds. From this commonest of tropes we will take our broadest cues for study. Our texts will include a wide range of early 17th century plays, including but not limited to BUSSY D'AMBOIS, THE REVENGER'S TRAGEDY, HAMLET, THE CHANGELING, A CHASTE MAID IN CHEAPSIDE, and BARTHOLOMEW FAIR. We will also read a number of essays on the domestic, economic, medical, and representational status of women in the English Renaissance. We will be particularly interested in the gendered drama of transgression on the Stuart stage. Two papers, frequent quizzes. This course fulfills the New Traditions requirement for English concentrators. This course fulfills the Pre-1800 requirement for English concentrators. Cost:3 or 4. WL:4. (Gregerson)

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

Section 001. WOMEN WRITING FROM THE PERIPHERY. This course focuses primarily on the works of postcolonial and minority women writers who are concerned with rewriting the "master narrative" of slavery, colonialism, race and nation. The artistic processes of decolonization emerge as a continuing dialectic between hegemonic systems of representation and peripheral subversion of them. Significant attention will be paid to the ways in which the women writers create a space within and between these two worlds. Authors will include Jean Rhys, Honor Ford Smith, Olive Senior, Paule Marshall, Toni Morrison, Grace Nichols. This course fulfills the New Traditions requirement for English concentrators. Cost:2. WL:4. (Gregg)

Section 002. SOUTHERN WOMEN WRITERS. Katherine Anne Porter, Zora Neale Hurston, Eudora Welty, Carson McCullers, Flannery O'Connor, Ellen Gilchrist, Alice Walker: the modern South has produced an abundance of superb woman writers. How do we explain the recurring themes of violence and the grotesque in their fiction especially in stories by writers like Welty and O'Connor, Southern ladies who are well known for their gentility? Why are there so many "old" children in Southern fiction that is, children who do not fit our stereotypes of youth and innocence? Why is there such a preoccupation with dirt and soiling in Southern fiction - and why is this emphasis on the earth and its spoils linked to themes of revolution, protest, and emancipation? Finally, how did the excruciating systems of racial dominance, gender hierarchy and class prejudice lend themselves to such gorgeous and strange Southern fiction? This course fulfills the New Traditions requirement for English concentrators. (Yaeger)

Section 003. WOMEN IN CONTEMPORARY THEATER. The course will explore the participation of women in theater in the U.S. and Europe since the 1950's as playwrights, producers, directors, and actors. We will study texts and performance documentation, seeking to discover how women construct images of themselves not only through language and narrative but also through elements of production such as staging, setting, costuming, and casting. Frequent informal staging of scenes will aid our study of performance. We will read about a dozen plays including Churchill's CLOUD NINE, Benmussa's THE SECRET LIFE OF ALBERT NOBBS, Shange's FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF, and Norman's 'NIGHT MOTHER. Reading will also include essays and criticism from theater journals (The Drama Review and Women and Performance), the feminist theater literature, and the popular press. Students will write two papers and perform in or assist with inclass performance projects. This course fulfills the New Traditions requirement for English concentrators. . WL:1. (Cohen)

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. This course fulfills the New Traditions requirement for English concentrators. 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. This course fulfills the New Traditions requirement for English concentrators. Cost:3. 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, Kogawa, 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. This course fulfills the New Traditions requirement for English concentrators. Cost:4 WL:1 (Fader)

Section 004. THE GOTHIC NOVEL AND CULTURAL POLITICS. This course focuses on the gothic novel and the cultural contexts that give rise to it as one of the most popular diversions of late 18th and early 19th century Britain. We'll ask why gothic became so popular at this point in history, especially for women readers and writers, by exploring its relations to empiricism and science; ethics, sex, and notions of pleasure; and economic and political developments. In addition to reading gothic tales by Walpole, Radcliffe, Beckford, "Monk" Lewis, and Oliphant, we'll also examine works by Hume, Burke, Mackenzie, Wollstonecraft, Austen, Edgeworth, Wordsworth, and Coleridge. Be prepared for a very heavy reading schedule, and for frequent writing assignments, including occasional quizzes, three short essays, and weekly research or question-composing assignments. More discussion than lecture; class participation is required. This course fulfills the Pre-1800 requirement for English concentrators. Cost:4. WL:1. (M. Ross)

Section 005. EXPERIENCE EXPRESSION: PRISON AND DRUG CULTURES. We will be looking at poems, testimonies, narratives, drawings, films, and investigations from both inside and outside prison and probably crack cocaine cultures. The goal of the course is to respond to those works both a artistic and, more broadly, as social communications. In order to achieve this goal, we shall not only study the texts themselves, but enter into contact with the producers of those works and some part of the context, as well as with others who share their experiences. Each students will have a placement in a prison, drug rehab center, halfway house, crisis center, etc., and will work with people from those two cultures, who will also participate in classroom meetings. This is a new course, and we will be feeling our way together. The class will be limited to 20 students, and grading procedures will be decided by students and instructor. See instructor for permission to enter the course: 1631 Haven Hall, Tuesday 4: 15-6, plus posted extra hours during preregistration. Cost:2. WL:course is permission of instructor; no waitlist. (Alexander)

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, Outton (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, CHILOHOOD'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)

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

Section 001. 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 the desire to shape a performance around a cause. Grading procedures will be decided by students and instructor. See instructor for permission to enter course: 1631 Haven Hall, Tuesday, 4: 15-6:00, plus posted extra hours during preregistration. [Cost:2] [WL:Course is permission of instructor; no waitlist.] (Alexander)

Section 002. POST-INDEPENDENCE AFRICAN FICTION: 1960 THE PRESENT. The objective of this course is modest: to provide undergraduate students a general exposure to the field of contemporary African fiction. Represented in the course will be texts (in English or in translation) from all regions of the continent which, deriving from a wide spectrum of aesthetic and ideological sensibilities, speak to diverse issues, past and present. Some of the writers whose work we shall discuss are Ahmadou Kourama, Camara Laye, Cyprain Ekwensi, Ngugi wa Thiong'o, Nawal el Saadawi, Mariama Ba, Wole Soyinka, Tayeb Salih, Dambudzo Marechera, Sembene Ousmane, and Alex la Guma. This course fulfills the New Traditions requirement for English concentrators. (Esonwanne)

320/CAAS 338. Literature in Afro-American Culture. (3). (HU). May be repeated for a total of 6 credits with department permission.

See Afroamerican and African Studies 338 (Chrisman)

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

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

Section 002. 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 003. 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)

325. Intermediate Exposition. (4). (Excl).

This course involves exercise in writing essays of various genres. ALL WRITING IN THE COURSE IS ENTERED IN A COMPUTER CONFERENCE FOR ALL MEMBERS OF THE CLASS TO READ. Regular participation in the conference is an unwaivable requirement for credit in the course. Inquiries can be addressed on MTS Message system, UM or UB, to BVH (ccid=LFCZ). (Van't Hul)

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

Section 001. 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. No required text, but there will be photoduplication expenses. This course satisfies the ECB upper-level writing requirement for non-concentrators. [Cost:1] [WL:1] (Smith)

Section 002. Don't take this course if you want an authoritarian instructor to provide you models for writing your resume. Practical English is a workshop that allows students a great measure of freedom in determining how they will structure their time and what they will write. But it also demands intense participation, commitment to peer groups for editing and grading (yes, grading), and willingness to use progressive revision for writing improvement. The workshop simulates a business or professional environment in which work is done both individually and collaboratively and in which writing and speaking are linked. Students typically produce such practical forms as letters, reports, memos, summaries, proposals, speeches, working papers, essays, minutes, and evaluations. Requirements: attendance at all class sessions and at group meetings outside of class; timely completion of a set of standard assignments and of a corporate project chosen by the workshop (total minimum 25 pages of finished prose plus delivery of two speeches). No exams. This course fulfills the upper-level writing requirement for non-concentrators. If you are not present at both of the first two sessions your CRISPed place will be given to someone else. Text: PRACTICAL ENGLISH HANDBOOK, Watking/Dillingham (1989). [Cost:2] [WL:1] (Crawford)

355. Core I (Great English Books). (4). (Excl).

Section 001. This course is the first in a three part sequence of historical surveys required of all English majors: those enrolling to satisfy these requirements are strongly encouraged to take the three courses in sequence and to begin as early as possible after declaring a major in English. Core I focuses on major literary works from the English Middle Ages and Renaissance. In this section we will concentrate primarily on narrative poetry and drama. Our reading will include selections from Chaucer's CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, selections from Spenser's FAERIE QUEENE, Kyd's SPANISH TRAGEDY, Marlowe's DOCTOR FAUSTUS, Shakespeare's HENRY IV, PART I and KING LEAR, Webster's DUCHESS the Shaman Drum Bookshop, 3l3 South State Street. The class will be conducted largely as a discussion group, with occasional lectures when needed; active participation is a requirement for all. There will be two papers of moderate length and occasional quizzes. Cost:3. WL:1. (Mullaney)

Section 002. This course regards literature of the medieval and Renaissance periods, our earliest literature in English. It doesn't aim to be a survey, in any completeness, even of the most important works of that long span of time, but it will invite you, while taking Chaucer, Milton, and some of the great plays of medieval and Renaissance as its central reference, to read and range in this varied and delightful literature. Specifically, we will read selections from Chaucer's CANTERBURY TALES, selections from Milton's PARADISE LOST, a half-dozen medieval and Renaissance plays; SIR GAWAIN AND THE GREEN KNIGHT; a miscellany of lyric poems and prose selections. I'll use THE NORTON ANTHOLOGY OF ENGLISH LITERATURE (Volume I, current edition), one book to keep down costs to you. Because the literature in many ways appeals directly to us I hope you will be pleased to enjoy it on sight, but because it comes from a world long past one or two books in background studies will be assigned, and there will be some lecturing to make the work accessible in its time. I plan to ask you to write rather short papers five or six times, to a total of some 25 pages. There'll be one hour examination and one final examination. [Cost:2] [WL:1] (McNamara)

Section 003. In this course, the first in the Core sequence taken by English majors, we will examine some of the greatest works written in the English language from the eighth to the seventeenth century. These will include Beowulf, SIR GAWAIN AND THE GREEN KNIGHT, selections from Chaucer's CANTERBURY TALES, THE SECOND SHEPHERD'S PLAY, EVERYMAN, Marlowe's DOCTOR FAUSTUS, Shakespeare's TWELFTH NIGHT, and Milton's PARADISE LOST. Classes will combine lecture and discussion, and grades will reflect students' active participation in class as well as work in a midterm and final examination, and in several papers on assigned topics. Cost:3. WL:1. (McSparran)

Section 004. A selection of works from the late Middle Ages through the Renaissance, e. g., THE CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, medieval plays, THE FAERIE QUEENE, poems by Donne, Herbert, and Marvel,l VOLPONE, THE DUCHESS OF MALFI, and PARADISE LOST. Mostly discussion, occasional lecturing; oral presentations by student panels; modest attempts at staging two of the plays. Frequent short papers, one longer paper, a midterm and a final exam. Cost:2. WL:1. (English)

Section 005. 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 006. The course will cover English literature from the Old English period to the 17th century. Major works and authors to be studied are Beowulf, CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, The Faerie Queene, Shakespeare's sonnets, the metaphysical poets, PARADISE LOST. There will be one exam at the conclusion of our study of medieval literature and a final exam. In addition, two papers (4-5 pages) will be required, and there will be unannounced quizzes on reading assignments. Class attendance and participation are important and will be taken into account in determining the final grade. Text: THE NORTON ANTHOLOGY OF ENGLISH LITERATURE, VOL. 1. Cost NA. WL NA. (Mory)

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 the play EVERYMAN. 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:2] [WL:1] (Creeth)

Section 008. We will begin with BEOWULF and end with Milton's PARADISE LOST. Readings along the way will include GAWAIN AND THE GREEN KNIGHT (as an example of medieval romance), selections from Chaucer's CANTERBURY TALES, one book of Spenser's THE FAERIE QUEENE, plays by Marlowe and Shakespeare, and lyric poems by Sidney, Shakespeare, Donne, Marvell and others. The emphasis of the course will be upon understanding and enjoying some of the outstanding works of medieval and Renaissance literature in English by reading them closely, with attention to the society and the cultural contexts that helped to shape them. The class will proceed primarily by discussion, with some short lectures. There will be several short papers, possibly some in-class writing, a midterm and a final examination. Cost:2. WL:1. (Knott)

356. Core II (Great English and American Books). (4). (Excl).

Section 001. The course will move from English neo-classicism to English romanticism to American post-Puritan and modernist romanticism. The chief writers studied are Austen, Pope, Swift, Wordsworth, Coleridge, Byron, Hawthorne, Melville, and Dickinson. We begin with Austen's PRIDE AND PREJUDICE as an instance of classical values before moving back in time to Pope and Swift. Then we read a goodly selection of English romantic poetry, Hawthorne's tales and THE SCARLET LETTER, Melville's MOBY-DICK, and Dickinson's poems and letters. Three short essays of about 5 pages each, and a final exam. Cost:3 WL:2 (McIntosh)

Section 002. This section of Core II will focus on literary innovation from the English Restoration to the American Civil War. Genres covered will include: satire; drama; the novel, including its gothic and sentimental varieties; 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; Congreve's THE WAY OF THE WORLD; Addison's CATO; Johnson's RASSELAS and "Preface to the Dictionary"; Fanny Burney's EVELINA; poems by Goldsmith, Wordsworth, Keats, Longfellow, Dickinson; short fiction by Melville; Mary Shelley's FRANKENSTEIN; Hawthorne's THE HOUSE OF SEVEN GABLES. Required texts consist of a large course pack and a number of paperback books. The course moves at an exhilarating pace. Requirements: attendance and participation, in-class writing, two papers, midterm and final exam. Discussion. Cost:3 WL:l (Ellison)

Section 003. 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:2] [WL:1] (Schulze)

Section 004. In this course we will read and discuss a wide range of English and American authors from the period 1660 to 1850. We will consider the works in relation 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; quizzes, three papers and two exams. [Cost:4] [WL:1] (Krook)

Section 005. This course, the second part of the core sequence required of English majors, focuses on English and American literature from the eighteenth and early nineteenth-centuries. Authors to be read will probably include Behn, Congreve, Swift, Pope, Defoe, Wollstonecraft, Austen, Wordsworth, Coleridge, Keats, Shelley, Hawthorne, Poe and Dickinson. An introduction to the literature of this period, the aim of the course is twofold: to understand the individual works as fully as possible and to relate them both to the other works we study and the historical contexts from which they emerge (how, for instance, do the works respond to different historical configurations of gender, class and race?) As this particular section of Core 2 meets once a week for three hours, only committed students, who can concentrate for such an extended period of time, should consider taking it. You will be expected to come to class prepared to discuss the texts in productive and energetic ways. Reading requirements are heavy. In addition to participation, students will be asked to write two essays, and a mid- term and a final examination. Cost:2. WL:1. (Flint)

Section 006. POINT/COUNTERPOINT: This course, second in the core sequence for English Concentrators, surveys major authors from the late 17th to the mid 19th century. To focus our discussions, we will follow the changing conceptions of what it means to be human. We will begin with Milton's Samson Agonistes to explore the tension individuals experience between following their own instincts and what outside forces such as religion and society dictate. To examine this conflict between internal and external values, we will read a variety of literary forms fiction, poetry, essay, and autobiography that express alternating perspectives. The tortured searching of Milton's Samson gives way to the satire and cynicism of Swift. Pope's ordered world view contrasts with the Romantics' reliance on impulse and the imagination. The continual redefinition of the self shifts in its relation to a social world as we move from Defoe's individualists to Hawthorne's transgressors to Austen's and Brontë's empowered heroines to Dicken's solitaries. In addition to the works of the mentioned authors, we will read works by the following: Johnson, Blake, Wordworth, Keats, Coleridge, Mary Shelley, Frederick Douglass, and Melville. The class will consist of some lecture and a lot of discussion. Requirements include active participation in class discussion, regular class attendance, two 6-8 page papers, and short weekly written responses to the readings. (Wolk)

Section 007. This course is designed to survey British and American literature of the 18th and 19th centuries to the extent possible within one term. Readings will include Wycherley's THE COUNTRY WIFE; a representative sampling from the poetry of Pope, Rochester, Anne Finch, and others; fiction by Jane Austen and Mary Shelley; and extensive selections from Wordsworth and Keats. Among the authors to be considered on the other side of the Atlantic will be Hawthorne, Douglass, Melville, and Dickinson. Attention will be given to the historical context within which these authors worked, the literary traditions they initiated, extended and in some cases parodied, as well as the questions their works continue to pose. Requirements: three mid-sized essays (5 to 7 pages) and a final exam. Cost:2. WL:1. (Larson)

Section 008. The course will deal with a number of works by some of the major writers of the period 1660-1860, e.g., Dryden, Pope, Swift, Wordsworth, Keats, et al. I have a particular interest in ideas of slavery and freedom as they are manifested in literature, and some attention will be directed that way. There will be three papers, 4-6 pages each, a midterm in-class test, and a final examination. The two volumes of the NORTON ANTHOLOGY OF ENGLISH LITERATURE will serve as the basic texts for the course. Other texts will be needed, but we can decide on them later. Students should be aware that I am not shy about calling on them to participate in class. (Moffat)

Section 009. This course examines selected texts in British and American Literature from 1660-1850, years which involve such literary and cultural categories as neo-classicism, sentimentalism, gothic horror, and romanticism. Reading will include authors such as Dryden, Pope, Swift, Hawthorne, Melville, and Brontë. We shall be paying attention to the historical context in which these texts were produced, as well as to the literary forms and thematic concerns they display. (Swabey)

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

Section 001. The title under which Core III courses are collected - "Great English and American Books" immediately invites our active investigation of at least two questions: How and when does a community of readers declare a book "great?" Upon what grounds can we consider English and American books to be related to one another? "Related" is a generously vague adjective. We will not set out simply to prove influence or to tie all works together into an orderly bundle; we will examine the premise that English and American books belong together in a single course. We will discuss works loosely assembled in transatlantic pairings. We will also follow the changing definitions of "greatness" as we look at various differently "great" works written during the last 150 years. Readings will include poetry, prose, and selected statements of nineteenth- and twentieth-century aesthetic principles. Authors discussed will include Dickens, Douglass, Hawthorne, C. Brontë, Anderson, Joyce, Stein, Hurston, Woolf, Wharton, O'Brien, Morrison. Course requirements are two short essays, a midterm, a longer final essay, and a final exam. Also important is your participation in class discussions. [COST: 3] [WL:l] (Whittier-Ferguson)

Section 002. This course is primarily designed to complete a sequence of three core classes for the English concentrator, but those students interested in the serious study of the literature written near the end of the nineteenth and continuing throughout the twentieth century are heartily welcomed. The theme of this class is TOWARD THE VOID. The literature studied will reflect both the social issues of the times and each author's unique shaping of that material. Emerging patterns will lead us to explore the idea that from a time of somewhat agreement in values, both society and the individual will grow weary and skeptical: from optimism will arise a sense of darkness, of irony, of the "void" at the center of our worlds. We want to read closely, not only to see what an author says, but how she or he says it. Thus our readings will often focus on the dynamics of the imaginative process. Moreover, if we begin this term finding ourselves reading, rhythmically, somewhat slow, understated works, we will progressively find ourselves in the midst of the potentially explosive energy of Beckett's ROCKABY Fowles' FRENCH LIEUTENANT'S WOMAN, and Irvings' A PRAYER FOR OWEN MEANY. The format of the course will be discussion and more discussion; the focus will be on the exchange of ideas. The requirements of the class will include: two thoughtful and analytical essays (10pp. ea.); a short weekly response to a text; and a comprehensive final exam. Although still tentative, the readings will be selected from the works of the following authors: Browning, Dickens, Hardy, James, Faulkner, Lawrence, Joyce, Yeats, Eliot, H.D. Wang, Toni Morrison, Naylor, Atwood, A. Tyler, Dorris, Allende, Erdrich. Cost:3. WL:1. (Back)

Section 003. According to James Joyce, "When the soul of a man is born...there are nets flung at it to hold it back from flight. He listed those nets as "nationality, language, religion" but we can easily elaborate on that list with race and sex and other delimiters such as class. In this section of English 357, we will be looking at the variety of nets which ensnare men and women and from which they seek to escape in order to live a fuller, more productive, more satisfying life. The readings will include selections from representative British and American writers from the last half of the nineteenth century to the present. We will focus primarily on novels but we will also examine a bit of poetry, some short stories, a play and a film. A tentative list of the novelists includes: Nathaniel Hawthorne, George Eliot, Mark Twain, James Joyce, Willa Cather, William Faulkner, Virginia Woolfe, John Fowles, Gloria Naylor. Students are required to participate in discussions both in class and on a computer conference, to write two short papers and take two hourly tests. Cost:2. WL:1. (Kowolski)

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. Readings will include: 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:l (Powers)

Sections 005 and 006. This is the third course in the core sequence for English concentrators. We will read selected texts in British, Irish, and American literature from roughly 1850 to 1950. The readings are primarily novels and stories, with selections from Victorian and modern poetry. The fiction readings are likely to include: Brontë, VILLETTE, Holt, ed. THE LIFE STORIES OF UNDISTINGUISHED AMERICANS, Joyce, DUBLINERS, Lawrence, SONS AND LOVERS, Woolf, MRS. DALLOWAY, Faulkner, THE SOUND AND THE FURY, Baldwin, GO TELL IT ON THE MOUNTAIN, and stories by Mansfield and O'Connor. Poets are likely to include Tennyson, Browning, C. Rossetti, Yeats, Pound, Eliot, some Great War poets, and World War II poets Keith Douglas and Louis Simpson. Students should have taken English 355 and 356 before electing this course. Class meetings will combine lectures and discussion, with timely additions of films and poetry readings. Short response papers, two 5- 7 page essays, midterm, and a final exam. Cost:3. . (Heininger)

367. Shakespeare's Principal Plays. (3). (HU).

An overview of Shakespeare's dramatic career, including comedies (A MIDSUMMER NIGHT'S DREAM), histories (RICHARD II, HENRY IV, PART ONE), tragedies (HAMLET, OTHELLO, KING LEAR), and plays that are difficult to classify (MEASURE FOR MEASURE, THE WINTER'S TALE, THE TEMPEST). Our interests will range from the poetic to the historical to the theatrical. Evaluation on the basis of both papers and examination. Students must register for a discussion section as well as for the lecture. Cost:1. WL:1. (Barkan)

393. Honors Survey: Eighteenth-Century English Literature. Admission to the English Honors Program. (3). (Excl).

An intensive survey of English literature from 1660-1798, poetry, drama, and prose. Throughout, we will attend carefully to the historical contexts in which the works appear. We will also discuss strategies for writing the Honors essay. Authors will include Milton, Bunyan, Dryden, Finch, Astell; Swift, Pope, Behn, Haywood, Defoe; Johnson, Cowper, Gray, and Collins. Texts at Shaman Drum, course pack at Liberty St. Kinkos. Three papers and an exam. Cost:4. WL:5 closed except to Honors students. (Krook)

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. Three short papers, and a final project. 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. This class fulfills the ECB Junior/Senior Writing Requirement for non-concentrators. This course fulfills the New Traditions requirement for English concentrators. [Cost:2] [WL:1] (Williams)

412/Film-Video 412. Major Directors. (3). (HU). May be repeated for credit with department permission.

THE FILMS OF INGMAR BERGMAN. The Swedish film director Ingmar Bergman has made during the past 35 years a group of films that remain one of the most impressive artistic achievements of our time. His films are more than films: they are explorations into psychology and society, examinations of values and beliefs, and expressions of our culture's anguish and confusion. Yet his films are strong statements about endurance and survival, passion and love. Bergman creates a distinct cinematic style to convey his vision, utilizing the techniques of the medium in striking and sometimes innovative ways. This class studies the career and achievements of Ingmar Bergman by examining the following films: THE NAKED NIGHT, SMILES OF A SUMMER NIGHT, THE SEVENTH SEAL, WILD STRAWBERRIES, THE MAGICIAN THE VIRGIN SPRING, THROUGH A GLASS DARKLY, WINTER LIGHT, THE SILENCE, PERSONA, HOUR OF THE WOLF, CRIES AND WHISPERS, and FANNY AND ALEXANDER. The class will proceed by lecture and discussion, examining the films in some detail and also discussing some relevant critical texts. Students will write a few short papers, a term paper of approximately ten pages, and a midterm and final examination. Cost:2. WL:1. (Konigsberg)

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 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)

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. CONTEMPORARY AMERICAN FICTION: 1950-1990. The subject of this seminar in contemporary American fiction is "The Literature of Replenishment: Realism, Fabulism, and Their Discontents." The first phrase comes from John Barth, some of whose fiction and non-fiction writings we'll read to get our bearings on the large territories of realism and fabulism. Then, by cultivating both thematic and historical approaches, we will read some of the best American fiction written from about 1950 to 1990, especially those fictions that explore, in Joyce Carol Oates' words, "the moral and social conditions of my generation." The main topic I propose to investigate is a dual one: the ways in which familial patterns shape individual lives by forging connections to larger groups and communities, and alternatively, how such "domestic particulars" can confuse and displace characters so that they live at a tangent from family, community, and nation. I expect that other leading ideas will come from the interests of the members of the seminar. The primary readings are likely to include: Baldwin, GO TELL IT ON THE MOUNTAIN; Busch, WAR BABIES; Carver, stories; Doctorow, THE BOOK OF DANIEL; Morrison, SONG OF SOLOMON; Oates, YOU MUST REMEMBER THIS; Pynchon, VINELAND; Smith, FAMILY LINEN; Silko, CEREMONY; Tyler, BREATHING LESSONS; Updike, RABBIT IS RICH. In addition, we will select short fiction from two anthologies, BEST AMERICAN SHORT STORIES and LOUDER THAN WORDS. Supplementary texts: a course pack and probably a paperback collection of essays. Required writing: occasional brief responses; two essays, one medium-length (5-7 pages), one longer (12-15 pages); an oral presentation on a writer or writers; a final exam. Cost:4. (Heininger)

Section 002. ELIZABETHAN CULTURE AND THE FAERIE QUEENE. Our primary text will be Edmund Spenser's allegorical romance THE FAERIE QUEENE. We will read one additional essay per week, surveying the broadest possible range of critical approaches to Spenser's poetry and the culture of which it was a part. Our concerns will include the politics of genre; the gendering and engendering of the subject; colonialism, exile, and romantic "error" in the construction of national identity; the status of the poetic icon in the age of Reformation iconoclasm; the mimetic imperative entailed in the ideals of courtliness; "kind"ness, and Christian chivalry; the dialogics of patriarchal power and patriarchal poesis during the reign of the Virgin Queen. Two essays, two oral reports. This course fulfills the Pre-1800 requirement for English concentrators. Cost:3. WL:4. (Gregerson)

Section 003. SAMUEL BECKETT. Although Beckett is largely known as the author of a landmark play, WAITING FOR GODOT, this seminar will examine his artistic accomplishment as a writer of BOTH drama and fiction. The accent will be placed on the relationships between the two genres as they inform the meaning of his work as a whole. After reading exemplary works selected from Beckett's "classical" period, class sessions as well as writing assignments will be based on the problematic late works for stage and prose. This is a class about problems of genre, close reading, and experimental writing. Cost:3. WL:1. (Brater)

Section 004. THE LANGUAGE OF POETRY: SIGHT, SOUND, SYNTAX, RHYTHM. One of the delights of poetry is its exceptional use of the expressive resources of language. However, these linguistic pleasures are often difficult to describe. Our immediate response to a poem is holistic and synthetic, and we are often more concerned with this synthetic response than with its sources in language. Describing language in an articulate manner is also a specialized activity that requires some technical training. To describe the language of a poem, we must first know something about language in general: its characteristic forms, structures, and expressive functions. The aim of this course is to confront some of these difficulties. During the term, we will concern ourselves with four aspects of poetic language: sight, sound, syntax, and rhythm. Through our readings and discussions, we will look at both the semantic and perceptual forms our language makes available in these areas and how English poets have used these forms to achieve their poetic purposes. Many of the topics we will consider are at the center of recent discussions of prosody in the profession: the relation between syntactic structures and conceptual worlds, the contribution of intonation and meaning to rhythmic form, the nature of visual and free verse prosodies, the articulatory and phonetic motivations for expressive uses of sound, and so forth. The requirements for the course will be several short analyses (2-3 pages) and one major paper (10-15 pages). Readings will come from a series of course packs of containing original essays on linguistic and prosodic form. Cost:2. WL:1. (Cureton)

Section 005. ROBERT FROST AND 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. FITZGERALD AND HEMINGWAY. A careful reading, discussion, and critical analysis of selected short stories and major novels by F. Scott Fitzgerald and Ernest Hemingway. Works such as THE GREAT GATSBY, THE SUN ALSO RISES, TENDER IS THE NIGHT, A FAREWELL TO ARMS, THE LAST TYCOON, and A MOVEABLE FEAST among others will be the subject and focus of the seminar. Class sessions will be primarily discussions of the texts, the critical reception, and close textual readings. Class members will lead discussions of individual works, initiate research topics for papers, and write two papers (one of Fitzgerald and one on Hemingway). Some time will be spent on the social and cultural background of the twenties and thirties that helped to shape and identify a new style and approach to American fiction. Regular attendance and participation in the seminar spirit are expected; a final exam is probable to pull things together as an overview of the writers and their works. Cost:4. WL:2. (Eby)

Section 007. CHAUCER. "For al so siker as IN PRINCIPIO, MULIER EST HOMO CONFUSIO, Madame, the sentence of this Latyn is 'Woamman is mannes joye and al his blis.'" A close study of how men saw women, and of the variety of female (and by extension, male) characterizations in Chaucer, with some information on their sources in patristic and courtly tradition. All readings will be in Middle English, and the discussion (in Modern English) will concentrate on tales emphasizing male/female interaction in the CANTERBURY TALES and the whole of the TROILUS AND CRISEYDE, Chaucer's masterpiece. Aspects of some "minor" poems may be included. Students will be evaluated on participation in class discussion, short reports, and longer paper. Text: THE RIVERSIDE CHAUCER, ed. Benson. This section of English 417 fulfills the Pre- 1800 requirement for English concentrators as well as the senior seminar requirement. (Garbaty)

Section 008. WRITING BEYOND THE ZERO. This course would be especially useful for students considering graduate school in the humanities and for all those who hope to continue writing after college. Our goal will be to write the academic essay beyond its traditional limits of audience, content, and form. If your work is already extraordinary, so much the better. If it has a long way to go, you too will find good company here. The class will be structured in part through a series of mini-courses on such subjects as rhetoric (how can contemporary writers make use of a history of persuasiveness?), library research (what is "total bibliographic control"?), research beyond the academy (how does one request material under the Freedom of Information Act?), style and self- editing (what do current manuals advise? how is the nature of style arbitrated today?), and the writer's marketplace (where and how do academics and others publish their non-fictional writing?). Readings will be devoted to exceptional stylists, from Edmund Wilson to Deleuze and Guattari. Much of what we read, especially in the latter part of the course, will be determined by class interests. Students will work on a variety of shorter writing exercises. Also, each student will choose, very early in the term, a substantial (15-20 page) project in research and writing. Generally, it will be on some aspect of cultural history. (The class as a whole may adopt an overall theme, "A History of Everyday Things," for example.) Projects will go through several drafts and reviews throughout the term. The goal of all projects will be publication in a suitable journal, magazine, or other vehicle. Courses that take students beyond freshman composition, such as English 225, 325, or 425, would provide helpful experience, but are not strictly prerequisites for this class. Cost:2. WL:1. (Leon)

Section 009. WRITING FROM AND ABOUT AFRICA. Whether European colonization of Africa could have occurred without a simultaneous literature that presented a Eurocentric view of interracial, multi-cultural, and economic encounters with Africans may be doubted. Without question, however, such literature encouraged the European expansion in Africa, attempted to justify it, or to define the limits of the colonizer's authority over the colonized. Also beyond question, when Africans began writing in English, they presented an implicit challenge to the colonial ideology. In this course, we will look at English writing about Africa and the impressions it conveyed to a public with otherwise limited information. We will also look at the interrelationship between Black African writing and independence movements in Africa. The reading list will cover material from 1700 to the last fifty years. There will be two short (5-7 pages) papers, one longer one, and one oral presentation. (Artis)

Section 010. AFRICAN LITERATURES IN EUROPEAN LANGUAGES. The title of this seminar deliberately highlights some of the questions about the nature and the consequence of comparative literature that will concern us during the term. The issues involved include, among others, the following: How and when did certain European languages (principally English, French, and Portuguese) come to be used for the production of literatures in Africa? Are the processes involved in the acquisition and the deployment of literary languages and of artistic creativity those of a "prison-house," or does the implied "alienation from roots" that may read into the title of our seminar also represent evidence of an empowering African counterpenetration? One that should be significant enough to call for cultural re-formulations (of class, gender, the geopolitics of cultures, etc.) whenever we invoke English or French or Iberian or Belgian traditions? Can we come to any useful conclusions about how and why certain literary traditions (African and/or European) have been, or appear to be, more responsive or reactive to "translations" of identity than others? In the event, writers like Ama Ata Aidoo, Alan Paton, and Ngugi wa Thiong'o; Wole Soyinka and V. Y. Mudimbe; Flora Nwapa, Ahmadou Kourouma, Chinua Achebe, and Gabre Medhin, etc. are among those who will help us contextualize our lectures, discussions, and reports. This course fulfills the New Traditions requirement for English concentrators. Cost:2. WL:1. (Johnson)

Section 012. HOLLYWOOD AND THE VISUAL CULTURE. In this course we shall discuss texts that consider the consequences of the rise to dominance of visual media like movies and television. Writers have dramatized/documented the way that Hollywood as a site of mass culture has attracted and worked upon representative "actors" in an American Dream. Conversely, Hollywood has sent into the world images, icons, and stories that have shaped twentieth century culture in profound ways. In order to better understand the dynamics of this cultural transformation, and the varieties of literary response to it, we shall begin by discussing Susan Sontag's ON PHOTOGRAPHY and Nathaniel West's THE DAY OF THE LOCUST, and proceed to other texts, in whole or in part, by Joan Didion, James Baldwin, Neil Postman, David Thomson, Mark Crispin Miller, Robert Stone, and Manuel Puig, as well as readings from anthologies and a significant number of poems on the topic. We shall also study a couple of recent films, such as THE PURPLE ROSE OF CAIRO and THE KING OF COMEDY, pertinent to our theme. Each student will deliver a brief oral report, keep a reading journal, and write several papers. Cost:3. WL:1. (Goldstein)

Section 013. YIDDISH LITERATURE IN AMERICA. This course will encourage students to explore some of the questions raised by immigrant texts. Reading poetry and fiction written during the past century by Jews in the United States who continued to use their native language, we will consider the problems posed by acculturation and, in the broadest sense, translation. How do Yiddish writers respond to the confrontation of American and Eastern European myths once they have first-hand experience of both? What effects do the English language and American culture have on their texts? What is the relationship between Yiddish writers in America and the dispersed, international community of Yiddish speakers? What does it mean to call this literature "American," or "Jewish," or "immigrant?" No knowledge of Yiddish is required for this course; all texts will be read in English translation. Requirements for the course include active participation in class discussions, periodic short (1-2 page) response essays, a longer paper (12-15 pages) and an exam. This course fulfills the New Traditions requirement for English concentrators. Cost:2. WL:1. (Norich)

Section 014. WOMEN WRITERS OF AFRICA AND THE DIASPORA. The course aims to discover and demonstrate the connections and continuities among selected women writers of Africa and the Diaspora within a critical framework that draws upon indigenous socio-political, cultural and theoretical models and formations. With an insistence on close reading within the context of cultural criticism, we will examine, among other issues, the interpenetration of orality and written discourse, the dismantling of authorized structures, the articulation and interrogation of the constructs of race and gender. Requirements include class participation, oral presentations, short papers and one research paper. Authors will include Bessie Head, Ama Ata Aidoo, Paule Marshall, Maryse Conde, Simone Schwarz-Bart and Jamaica Kincaid. This course fulfills the New Traditions requirement for English concentrators. Cost:3. WL:4. (Gregg)

Section 015. THEATER, RITUAL, MYTH: A STUDY OF CONTEMPORARY PERFORMANCE THEORY. The course will explore the relationship between theater, ritual, and myth in the context of the evolving aesthetics of theater performance in the modern and postmodern eras. Beginning with the ideas and theater practice chronicled in Artaud's THE THEATER AND ITS DOUBLE, we will study a number of experiments that have attempted to merge the structures of theater and ritual and which incorporate traditional myths or seek to create new ones. Some of the performance companies we will examine include El Teatro Campesino, The Performance Group, The Bread and Puppet Theater, and The National Black Theater. Readings will be drawn from three areas: contemporary performance theory (e.g., Brook's THE EMPTY SPACE, Grotowski's TOWARDS A POOR THEATER), the anthropology and sociology literature of performance (e.g., Turner's FROM RITUAL TO THEATER and Goffman's PRESENTATION OF SELF IN EVERYDAY LIFE) and performance documentation. Students will make a seminar presentation and write one substantial research paper. Cost:3. WL:4. (Cohen)

Section 016. IMAGINING UTOPIA: POST-INDEPENDENCE AFRICAN NARRATIVES. Utopian narratives are uncommon in African writing. However, inasmuch as African writers deal inaginatively with numerous post-independence crises, they inevitably envision for all an alternative, post-colonial world free of the shackles, restrictions and limits of the fallen present, a place, in short, outside history. In imagining Utopia, we will examine the ideology of the aesthetics of these Utopia. Our examinations, which will be buttressed with readings of metacritical literature, will be drawn from the work of Ayi Kwei Armah, Cheikh Hamidou Kane, Sembene OUrsmane, Wole Soyinka, Yambo Ouloguem, Bessie Head, D.T. Niane, Ahmadou Kourama. Students must be conversant with the history of ("Western") European colonialism. This course fulfills the New Traditions requirement for English concentrators. Cost:2. WL:1. (Esonwanne)

Section 017. COLLEGE WRITING: CONTEMPORARY RESEARCH, THEORY, AND PRACTICE. This course provides seniors with the opportunity to read, think, and write about their own experiences with college writing that is, to examine their composing processes and strategies, to evaluate the academic writing they have done over the past several years, and to analyze the pedagogical approaches taken in their college courses. Students will read articles and books focusing on current composition research, theory, and practice, and they will consider their recent writing experiences in light of these contemporary readings. Authors tentatively include David Bartholomae, James A. Berlin, Ann E. Berthoff, Patricia Bizzell, C.H. Knoblauch, James Britton, Kenneth Bruffee, Janet Emig, Linda Flower, Maxine Hairston, E.D. Hirsch, James Kinneavy, Ken Macrorie, Donald Murray, Stephen North, William Perry, Mike Rose, Mina Shaughnessy, and Nancy Sommers. In addition to completing all of the assigned reading, each member of the class will be responsible for giving an oral presentation, participating in discussions, and writing two short essays (5-10 pages) and one longer paper (15-20 pages). Although this course is especially appropriate for students who intend to teach composition and literature at the college or high school level, it is suitable for any students who have an interest in writing. (Slattery)

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. 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. Cost:1. WL:1. (Ezekiel)

Section 002. 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:l (Baxter)

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

Although the essay will be the FORM of writing that will be our particular focus in this course because it is the most common shape of professional writing, the ACT of writing will be our central pursuit because it is essentially the same no matter what form it takes. Each member of the class will work both as a writer and an editor, the purpose of both belong to make of each writer an editor able to meet his or her own needs. Cost:1 WL:l (Fader)

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. Students who have taken 227 will he given preference; however, those who've had substantial playwriting experience will be considered. 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 play manuscript with phone number and address with the English Department main office, 7611 Haven Hall. The manuscript must be a one act or a full length play that is typed in manuscript form, and it must be received by Jan. 4, 1991. A list of those accepted into the class will be posted on the door of 3030 Angell Hall at 12 noon on Jan. 9. Cost:1. WL:5 - see description. (OyamO)

428. Senior Writing Tutorial. English 223, 323, and 423/429 or equivalent (3). (Excl).

This course is a combination writing workshop/thesis tutorial for undergraduate students who are in their last year at Michigan, have taken the 200-,300-, and 400-level writing workshops, and have been accepted into the Creative Writing Program. Students will complete a major manuscript of fiction or poetry. Supervised reading and writing assignments will also form a part of the curriculum. Regular tutorial meetings between students and faculty will take place; workshops in fiction and/or poetry might be arranged. The course is designed to afford students and faculty the greatest flexibility and latitude in devising the most beneficial working arrangements, given the particular needs of students taking the course that term. [Cost:1] [WL:1] (Ezekiel)

430. The Rise of the Novel. (3). (Excl).

The novel is at once innovative and traditional, and has been so from its beginning. We shall start by looking at some of the predecessors of the novel; it would be helpful for students to have some familiarity with the epic (ILIAD or ODYSSEY) and the romance (Dante's DIVINE COMEDY or Spenser's FAERIE QUEEN). Such works form the idealistic foundation from which the novel often makes satiric departures, and there will not be time in the course to study them properly. In the course itself we will read both parts of Cervantes' DON QUIXOTE and works drawn from such early English authors of fiction as Defoe, Richardson, Fielding, Sterne, Walpole, Mary Shelley, Goldsmith, Burney, and Austen, As the reading list is long, former students recommend reading some books before the course starts: DON QUIXOTE, JOSEPH ANDREWS, THE VICAR OF WAKEFIELD, NOTHANGER ABBEY, EMMA are a list from which you might choose. Writings will consist chiefly of brief shared notes on the reading, participation in a computer conference and a final examination. Class meetings will consist chiefly of discussion; all students are expected to be regular and active participants in class meetings. Students who cannot meet this expectation should not take this course. This course fulfills the Pre-1800 requirement for English concentrators. (Cloyd)

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

Texts are: Twain, TOM SAWYER and HUCKLEBERRY FINN; K. Chopin, THE AWAKENING; S. Anderson, WINESBURG, OHIO; Toomer, CANE; Hemingway, IN OUR TIME; Faulkner, LIGHT IN AUGUST; J. Baldwin, ANOTHER COUNTRY; T. Wilder, THEOPHILUS NORTH; M. Lawrence, THE DIVINERS. Hemingway once said that American literature begins with Twain's HUCKLEBERRY FINN; there Huck says we don't know him unless we have read TOM SAWYER. We begin by looking at those two novels, as though heeding the advice implicit and explicit listed above. The selections cover about a century of novel writing in English in America. They are about typical American concerns the plight of the alien existence, the place of minorities, racial and social discrimination, and the struggle for individual identity as though conscious of the admonition to love one's neighbor as oneself, and aware of the difficulty in doing so. These works provide a interesting illustration of variety of approaches to narration how to tell a story including the management of time, of simultaneity, of credibility, of entertainment. Students will write a couple of short exercises and two or three longer essays, and there may be a final examination. The conduct of the course will involve both lectures and discussion. Cost:3. WL:3. (Powers)

442. History of Poetry. (3). (Excl).

A comparative look at poems that are also acts of piety. The fulcrum of this course will be the work of Gerard Manley Hopkins, but we will also read poems by Donne, George Herbert, Traherne, Crashaw, St. John of the Cross, Milarepa, Rumi, Kabir and others. We will read Interior Castle by St. Theresa of Avila, The Book of Job, The Song of Solomon, some sermons by Meister Eckhart and other snippets of prose relating to our emerging sense of poetic piety. The method of instruction will be class discussion, the enrollment is limited to forty students, and individual evaluations will be based on several short essays and oral presentations. A note: it is expected that the individual religious beliefs of the authors are not to be championed or challenged by anyone other than the authors themselves. This course fulfills the Pre-1800 requirement for English concentrators. Cost:3 WL:l (Ruefle)

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

See Theatre and Drama 322. (Cardullo)

445. Shakespeare's Rivals. (3). (Excl).

This course is a study of the chief dramatists of the English Renaissance. Among them will be such writers as Lyly, Greene, Marston, Lekker, Middleton, Jonson. Marlowe, Chapman, Webster, Tourneur and even an anonymous writer or two. Students will be expected to attend class regularly and contribute to the frequent class discussions. From time to time, I shall be presenting more or less formal lectures. Grades for the course will be based on each student's total effort in the class. Formal requirements will include at least one long essay and two briefer writing assignments, a midterm and a final examination, and participation in the work of the class. This work may include an end-of-term production of a selected play or of scenes drawn from a variety of plays. This course fulfills the Pre-1800 requirement for English concentrators. Cost:2. WL:l (Jensen)

448. Contemporary Drama. (3). (Excl).

A course surveying major plays by European dramatists from the beginning of the Modern period to the present. Through a close reading of dramatic texts and a study of dramas in performance, the class will explore the proliferation of forms and styles as dramatists reconceived the stage and its aesthetic, political, and social possibilities. Topics will include the following: the development of realism, naturalism, and expressionism on the stage and their revisions over time; languages of theatre; the avant garde counter stage; absurdism in theme and form; theatrical representations of the body; myth and ritual and their relation to drama and theatre practices; violence and the stage; critiques of language; self- referential theatre practices; gender, race, and class in theatrical representation; stage imagery; the influences of film, television, and popular culture; audience response; and theories of performance. Playwrights studied will include the following: Büchner, Ibsen, Strindberg, Chekhov, Brecht, Beckett, Pinter, Churchill, Fugard, Schwartz-Bart, and Gems. The class will be taught as a lecture/discussion with active student participation expected. There will be two short papers and a final examination. (Ben-Zvi)

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

Through a study of selected plays by American playwrights, organized chronologically, the course will focus on the development of an indigenous American drama and theatre. Discussions will begin with the European antecedents and will move to a study of particular elements in the American experience which shaped drama and theatre: pioneering; territoriality; religion; concepts of individualism; family and communal structures; gender stereotypes and inscriptions; urbanization; commercialism and consumerism; and technology. The class will discuss how the playwrights studied addressed these issues. It will also focus on their experiments with dramatic forms and structures, stage "languages," character depiction, stage imagery, critiques of language, and forms of representation on the stage. Playwrights to be studied will include the following: Susan Glaspell, Eugene O'Neill, Arthur Miller, Tennessee Williams, David Mamet, Sam Shepard, Ntozake Shange, Beth Henley, Tina Howe, and August Wilson. The class will be lecture/discussion. Students will be encouraged to see relevant productions in order to supplement their reading of texts. There will be two papers and a final examination. (Ben-Zvi)

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

SOMEWHAT OF LUST, SOMEWHAT OF LORE. This survey of English literature from about the tenth through the fifteenth century will explore the poetic theory of early vernacular literature in its social contexts. Many medieval English writers speak of what they intend their works to accomplish, some express anxiety about finding readers who will understand particular works, and a good number worry about art's potential to deceive. By analyzing their statements, we will attempt to understand how early vernacular writers conceptualize their art and why they view the purposes and reception of art as central and problematic issues. To deepen our sense of the context of these issues, we will study the production of texts and the creation of reading audiences during these centuries. Although there will be some lectures, students should be willing to participate actively in discussions, oral presentations, and group activities, and to read some texts in Middle English. Requirements: frequent short writing activities, two exams, two critical essays or one research paper, a few oral reports. Texts: Thomas Garbaty, Medieval English Literature; course pack; paperback editions of several works. This course fulfills the Pre-1800 requirement for English concentrators. Cost:2 WL:4 (Tinkle)

462. Victorian Literature. (3). (Excl).

VICTORIAN POETRY. This course is devoted to the extremely beautiful and interesting poetry of the Victorian period. We will focus on the work of Tennyson, Robert Browning, Elizabeth Barrett Browning, Emily Brontë, Christina Rossetti, D.G.Rossetti, Swinburne, Gerard Hanley Hopkins, and Thomas Hardy. We will explore some of the following topics: the relationship of these poets to the romantic poets (especially Keats and Shelley) that preceded them; the relationship of Victorian poetry to the novel and to the visual arts; gender and genre; Victorian poetry and contemporary social and sexual ideologies. Some background in romantic poetry would be helpful, but isn't necessary. The class will be conducted as a discussion. Students will write several papers and do a class presentation. Cost:3. WL:l (Pinch)

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

Section 001. ASIAN AMERICAN LITERATURE. A survey and examination of major works of Asian American fiction, poetry, and drama from 1900 to the present. This study is based upon frameworks of literary histories and their historical, social, political, and cultural contexts. The student is not presumed to have prior knowledge of this literature; both lectures and discussion are to be expected. Required, graded coursework consists of two papers of five pages each and a final paper of ten to fifteen pages, plus quizzes. Authors studied range in Asian American literary history from Sui Sin Far, Carlos Bulosan, Hisaye Yamamoto, John Okada, and Louis Chu to Frank Chin, Milton Murayama, Maxine Hong Kingston, Joy Kogawa, and Bharati Mukherjee. This course fulfills the New Traditions requirement for English concentrators. Cost:5 WL:l (Sumida)

Section 002. THREE MODERN POETS: POUND, ELIOT, AND STEVENS. The course will examine what three major writers Ezra Pound, T. S. Eliot, and Wallace Stevens have to teach us about the kinds of relations possible among art, society, and individual experience. We will consider their chief works both in themselves and as responses to personal, political, and literary problems. The readings are primarily poetry, with some critical prose by the authors themselves. We proceed by a mixture of lecture and discussion. There are two papers (about six pages each) and a final examination. English 240 would be a helpful but not essential background. Cost:2 OR 3. WL:l. (Bornstein)

Section 003. CLASS AND MONEY IN AMERICAN LITERATURE. This course will explore some of the interrelationships of class and money as they figure in American fiction. We will consider such topics as the contents of the American dream, the Horatio Alger rags- to-riches myth, the failure of political democracy to produce "economic democracy," the role of class in a "classless" society, etc. There is no particular theory to be pushed nor ideological axes to be ground: we will consider a variety of interpretations. Works to be read will probably include the following: an Horatio Alger novel, Howells' A Traveler from Altruria, Bellamy's Looking Backward, James' THE AMERICAN, London's MARTIN EDEN, Dreiser's Sister Carrie and/or An American Tragedy, Wharton's The House of Mirth, Fitzgerald's The Great Gatsby, Lewis' Babbitt, Schulberg's What Makes Sammy Run and (if I'm up to it) Tom Wolfe's The Bonfire of the Vanities. There will be a midterm and a final exam and probably two 5 page papers. Cost:2. WL:l (G. Beauchamp)

Section 004. APPROXIMACIONES A CHICANA CULTURE. For the Winter 1991 Term only, this section will meet together with Spanish 485.002, and American Culture 498.001. See Spanish 485 for description. This course fulfills the New Traditions requirement for English concentrators. (Perez)

Section 005. UP AGAINST THE DOMINANT CULTURE: FOUR DECADES OF LITERARY REBELLION. The full title of this course is "Up Against the Dominant Culture in the U.S.: Four Decades of Literary Rebellion, From the 1930s to the 1960s." Our objective will be to examine a variety of literary texts in which writers have attempted to challenge what they perceive to be repressive, exploitative, racist and sexist cultural values in the U.S. One ongoing theme of the course will be the continuity and development of these concerns as they are raised repeatedly over the decades; another will be the diversity of the texts as writers respond to changes in the national climate and strikingly different literary techniques. Many of the writers to be considered are women, writers of color, and writers from the working class. The selection of texts varies from the famous to the almost-forgotten. The course will be of special interest to students wishing to engage issues of gender, "race," class, and cultural difference in the U.S. We will meet twice a week, on Tuesdays and Thursdays from 1-2: 30 p.m., and the format will vary among presentations, group discussions, and occasional films. There will be a short (diagnostic) paper, a longer term project, and a final exam. The readings will probably include many of the following: Michael Gold, Jews Without Money; Meridel Le Sueur, The Girl; Langston Hughes, The Ways of White Folks; Pietro Di Donato, Christ in Concrete; Josephine Herbst, Rope of Gold; Christina Stead, Letty Fox: Her Luck; short fiction by Yoshio Abe and Toshio Mori; Chester Himes, The Lonely Crusade; Lorraine Hansberry, A Raisin in the Sun; Myra Page, Daughter of the Hills; Richard Wright, The Long Dream; and James Welch, Winter in the Blood. This course fulfills the New Traditions requirement for English concentrators. (Wald)

478/CAAS 476. Contemporary Afro-American Literature. Permission of instructor. (3). (Excl).

AFRO-AMERICAN LITERARY CONSTRUCTIONS OF RACE, CLASS, AND GENDER. In this course, we will focus on the work of twentieth century Afro-American writers novelists, playwrights, short story writers, and autobiographers in order to examine their delineations of the effects of societal notions of gender, race, and class on Black identity formation. We will explore how these categories of difference race, gender, and class impact characters' maturational process and sense of self. In addition, we will analyze the extent to which African-American writers view what contemporary scholars consider the socially constructed nature of these categories as a license to challenge limiting, prescribed notions of "natural" or appropriate behavior. Our goal, in brief, is to examine Afro-American literary representations of the process of negotiating cultural constructions of Black male and female, as well as middle and lower class, selfhood. We will study works by such authors as Richard Wright, Alice Walker, Ralph Ellison, Toni Morrison, August Wilson, and Paule Marshall. Course requirements: two 6-8 page essays; a midterm examination; a take-home final examination; and active participation in a study group. A familiarity with the basic premises of Afro-American Studies and Women's Studies would be useful, but is not required. Cost:1. WL:l. (Awkward)

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

Section 001. HAWTHORNE AND MELVILLE. In this course we will study intensively a few works of Hawthorne and Melville: of Hawthorne a dozen or so short stories, The Scarlet Letter, The House of the Seven Gables and perhaps The Blithedale Romance; of Melville some of the Piazza Tales, Moby-Dick and Billy Budd. The focus will be on what Melville calls "the power of blackness" - or what I take to be their oppositional stance to the prevailing optimism of their day. There will be a midterm and final exam and probably two 5 page papers. The books for the course will cost about $35. (G. Beauchamp)

Section 002. JANE AUSTEN IN CONTEXT. A key hypothesis of this course will be that Jane Austen is a political novelist. Through a careful reading of her six novels along with a) some of the novels by women of the late eighteenth and early nineteenth century with which Austen's novels are in dialogue b) other kinds of writings by and about women of this period such as conduct books, treatises on women, feminist and anti-feminist tracts, and c) selected works in social and cultural history we will explore what this hypothesis might mean. We will discuss how to situate Austen's fiction within the context of English response to the French Revolution, and how feminist scholarship might help us understand her. The center of this course will be working on close readings of the major novels; its guiding principle, however, will be that only by reading the novels in the context of contemporary fictional and non-fictional discourses about women can we begin to understand Austen's literary form. Texts will be NORTHANGER ABBEY, SENSE AND SENSIBILITY, PRIDE AND PREJUDICE, MANSFIELD PARK, EMMA, and PERSUASION; Burney, EVELIN; Radcliffe, THE MYSTERIES OF UDOLPHO; Wollstonecraft, ARIA and A VINDICATION OF THE RIGHTS OF WOMEN; plus a course pack. The class will combine lecture and discussion; students will write one paper, an annotated bibliography, and a take-home final. NOTE: the reading for this course will be heavy. Students might read THE MYSTERIES OF UDOLPHO (Oxford) or EVELINA (Oxford) over winter break.

Section 003. THE WORKS OF WILLIAM SAROYAN. This course aims to explore Saroyan's major writings in four areas: fiction, play, novel, and memoir. We will discuss his deepest concerns: the quest for true being or identity, the place of the Armenian in America, the purpose of art, the yearning for peace in a turbulent world. We will also discuss Saroyan's unique contributions to American prose style and his influence on writers such as Jack Kerouac, J.D. Salinger, and Charles Bukowski. Attention will be paid to biography as well as Saroyan's place in the history of Armenian culture. Students will be asked to write two short essays and one longer term paper on topics emerging from our work together. Readings include THE DARING YOUNG MAN ON THE FLYING TRAPEZE, THE TIME OF YOUR LIFE, MY NAME IS ARAM, THE HUMAN COMEDY, CHANCE MEETINGS, MADNESS IN THE FAMILY. (Calonne)

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

POLITICS AND MODERN LITERATURE. This course will meet once a week for an hour to examine a few of the ways that political ideas and modern literature have interacted in the mid-20th century. While there is no hope of exploring more than several forms of expression, we will at least look at a range of possibilities that especially concern gender, race, and cultural difference. The most likely texts will be Richard Wright's Black Boy, an autobiography; Doris Lessing's The Golden Notebook, an experimental novel; and N. Scott Momaday's House Made of Dawn, a text that combines aspects of Native American Indian cultural traditions with the modern novel form. The usual format will be a presentation followed by discussion. Evaluation will be based on a short paper and a final exam. (Wald)

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. This course offers a version of modernism meant to be complementary or perhaps contradictory to the course in the modern novel offered last term. We will begin with Tennyson, the Brownings, and C. Rosetti, leading towards the examination of early Yeats, the last of the Romantics. We will then pick up the social theme with Shaw, to be followed by Joyce's ULYSSES. The course will end with an examination of the later Yeats and Eliot. Two short papers and one longer paper are expected, plus a midterm. (Schulze)

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)

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