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Winter Academic Term 2003 Course Guide

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Courses in English


This page was created at 11:30 AM on Thu, Feb 6, 2003.

Winter Academic Term, 2003 (January 6 - April 25)

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ENGLISH 140. First-Year Literary Seminar.

Section 001 – Native American Fiction.

Instructor(s): Lincoln B Faller (faller@umich.edu)

Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). May not be repeated for credit.

First-Year Seminar

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

All Americans know something about Native Americans – at least they think they do. Stereotypes abound and, for most of our history, most of them have been vicious. But all stereotypes are damaging to the people they include, even the most benign and supposedly positive. Where vicious stereotypes would silence and discredit those they target, stereotypes of the supposedly benign kind are all too ready to speak for them, preempting their own efforts to speak the truth as they see it.

The course will involve a close study of some five works of fiction by Native American writers, all of which powerfully contradict the usual ways of imagining and thinking about "Indians." It will begin with an extended look at a work which is neither fictive nor entirely Native-authored, John Neidhardt's Black Elk Speaks; this will help us to identify certain crucial problems in the reading and interpretation of texts infused with Native American cultural values and emerging from Native American experience, from a perspective outside those values and that experience. Subsequent readings will include D'Arcy McNickle's The Surrounded, James Welch's The Death of Jim Loney, Leslie Marmon Silko's Ceremony, Louise Erdrich's Tracks, and Sherman Alexie's Smoke Signals.

Students will be required to make several class presentations, to write weekly response papers as well as two short essays, and to participate in a group research project culminating in an end-of-term presentation and a collaboratively written paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 140. First-Year Literary Seminar.

Section 002 – U.S. Literary & Legal Lives. Meets w/ AMCULT 103.003.

Instructor(s): Maria S See (ssee@umich.edu)

Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). May not be repeated for credit.

First-Year Seminar

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See American Culture 103.003.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 217. Literature Seminar.

Section 001 – Midwestern Literature.

Instructor(s): Rosemary Ann Kowalski (rkowalsk@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

The Midwest is home to more Nobel Prize Winners in Literature than any other comparable region of the world. What is it about this area that has captured the imagination of the nation? What is it about this literature that resonates so widely with people from other countries that they award it so many prestigious honors? Join us as we explore the writings of Sinclair Lewis, Ernest Hemingway, Saul Bellow and Toni Morrison who, though they may not all write about the Midwest all of the time, write with a "midwestern sensibility." What is "midwestern literature"? How have these writers helped to shape and define it?

Assignments include weekly Reading Responses and a final project (a term paper or a Web-page).

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 223. Creative Writing.

Section 001.

Instructor(s): Kristyn Kuennen (kkuennen@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will introduce you, the writer, to the writing process by first introducing you to your own creative voice(s) and then focusing on specific techniques of reworking and revision. One half of the semester will be spent on poetry and one half on fiction. Your original work will be the central focus; we will do a number of in-class and out-of-class writing exercises to help initiate ideas and images, whether they be autobiographical or imagined. We will also, however, examine the writing of published authors in both genres in the hope of attaining, from their final products, some insight into style, technique, and form. You can expect to have both your poetry and works of fiction workshopped in class by your peers, and their encouragement and constructive criticism should be taken into account in your revisions. The revision process is integral to the development of any piece of writing and will be discussed and practiced at length. Your drafts will be reviewed not against the drafts of other writers, but against themselves, as the ultimate goal of the course is individual improvement.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 002.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 003 – Reserved for CSP students. Contact the CSP office for a Permission.

Instructor(s): Geoffrey Martin Bankowski

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 004.

Instructor(s): Michelle Turner (mmturner@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

"Where Are You Going, Where Have You Been?" This story title by Joyce Carol Oates asks the question we will be asking each other and ourselves. No matter where we are going or where we have been, we all have unique perspectives and something valuable to say. We might view the world the way the poet Charles Wright does when he writes, "How deeper than elsewhere the dusk is in your own yard." The primary aim of this course will be to write poems and short stories that are well crafted, confidently individual, and meaningful to others. Along with content and theme, we will consider craft issues such as imagery, rhythm, character, and plot. Students will read and discuss the works of established authors, complete informal writing exercises, and attend at least two public readings. Above all, this course will be structured around the workshop of students' own poems and short stories. Requirements include a portfolio of approximately 7-10 pages of poetry and 15-20 pages of prose.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 005.

Instructor(s): Melodie Edwards (msedward@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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. Class work 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 is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 006.

Instructor(s): Rattawut Lapcharoensap (rlapchar@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

To make-believe is to make believe. It is, in a sense, to tell a convincing lie. In this course, therefore, we will coerce ourselves into believing our own – and each other's – literary lies. The specific forms of lying that shall be used in this course are: fiction and poetry. Other forms of lying not included under these broad categories are strongly discouraged. Through close and careful readings of each other's work and a small selection of outside texts, we will work towards answering a few questions not only about the coherence and quality of our own lies - in short, about how we might become better writers – but also some larger questions about the fictional and poetic forms as well. What makes a good fictional or poetic lie? By what formal and technical mechanisms are we led to believe them? By what authority – of voice, of style, of cadence and tenor – are some of our favorite fictional and poetic works vested such that we have come to believe in their material existence? In Moscow, a small apartment has been shrined as the actual residence of Dostoyevsky's Raskalnikov. In London, too, Sherlock Holmes' Baker Street apartment has been declared a historic site by the authorities of that English city. Indeed, there is a peculiar kind of power to lies well-told, and it is my hope that we will be telling some of our own – and helping each other tell them better – throughout the course of the semester. Requirements include attendance, class participation, responses to each other's work (truthful, of course), short writing exercises, and a considerable body of polished fiction and poetry by the end of the academic term.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 007.

Instructor(s): Nate Jones (nsjones@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

It is easy to become complacent in writing. We find a technique that works, and we stick with it. In this course, you will be challenged to write explosively through exercises and interaction with some of the best writing of the last decade. Expect to look at poetry and prose writing in a new way by the end of our time together. Make sure you're ready for this, and be prepared for anything.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 008.

Instructor(s): Kate Wells (khoefler@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this introductory creative writing course, we will focus primarily on the crafts of poetry and fiction through writing and the discussion of our writing. In keeping with the idea that writing is a craft developed through study and practice, and that even "natural" ability is enhanced through reading, we will continuously supplement our own writing with discussions of published works of both poetry and fiction, traditional and contemporary. Through the study of these works, you will become familiar with the different elements and approaches to craft and will be encouraged to expand your ways of thinking, both critically and creatively, about writing. The aim of these activities is to help you discover what you would like to accomplish in your writing and enhance your ability to accomplish it. We will spend the first half of the semester devoted to poetry, the second to prose.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 009.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 010.

Instructor(s): Catherine Zeidler (czeidler@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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. Class work 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 is required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 011.

Instructor(s): Hui Hui Hu (hhui@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This introductory creative writing course will explore the idea of place in writing: imaginary places, travel literature, and how the town or land from which you come shapes your writing. We will consult with expatriate and exile literature, seeking out the mysterious and unfamiliar in authors such as Broumas, Garcia Marquez, Rushdie, Lee, Lessing, Calvino, Chandler, Levine. I will ask you to write approximately ten poems and 15-20 pages of fiction, to attend at least two readings by visiting writers, and to keep a working journal. We will discuss your writing in a workshop setting, but always in relation to the craft of writing as a whole.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 012.

Instructor(s): John Bishop

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This section of ENGLISH 223 will focus on drama and fiction (specifically the short story), examining the differences inherent to each style while endeavoring to understand how the study of both can inform fiction and dramatic writing. What techniques are shared by both drama and fiction? How does the role of voice and plot change as we move from one medium to another? Special attention will be paid to narrative voice as well as the themes of betrayal and alienation. Published plays and short stories will be read and discussed, but the majority of class time will be spent critiquing peer work. A final portfolio of a minimum of 30 pages in either or both mediums will be required at the end of the semester.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 013.

Instructor(s): Mary Ann Davis (madavisz@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Czeslaw Milosz writes "What is poetry if it cannot save nations of people?" We will use this question to loosely guide our exploration of creative writing. As Milosz' question suggests, we will assume that the writing of poetry and fiction has the potential to save, to alter, to damn, nations of people – which means that even while we write for ourselves, we are not separate from the outside world. Neither is poetry separate from fiction, nor reading separate from writing. Thus, while the main purpose of this course is for us to develop and change our individual writing processes, we will consistently push ourselves to think outside of our worlds; beyond the surface, beyond the personal, even if our writing is always grounded in these. We will explore thoroughly and with great joy what such blurs in genre and subject matter might mean to us as writers. To do so, we will write copious pages of both fiction and poetry; question what it means to "write" and be a "writer" through journals, readings, and out-of-class exercises; discuss our work with great attention to each piece as its own, and with great love and enthusiasm for every stage of the writing process; and change willingly, without fear, in our particular writing processes, styles, forms, voices, and/or genres. Our finale will be a glorious production of six to eight revised poems, and two to four revised prose pieces.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 014.

Instructor(s): Laura Jean Baker (lbakerz@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course, you will learn complimentary lessons: how to gather raw material for writing by observing the world (landscapes, behaviors, relationships) and how to cultivate your imagination by regularly feeding it your raw material. Writers are always watching and using details they observe to drive their work. For example, you may remember a kindergarten teacher's eyepatch, or you may observe a doorman's manicured hands and imagine how these details might evolve into a poem or story. You will keep a small observation and memory log to train your mind and to find interesting patterns and images from life and mind that will invigorate your writing. You write best when your subject matter moves and interests you. Therefore, we will dedicate the semester to unearthing your passions and learning to write poems and stories that are effective as works of literature but that are also personally meaningful. You will read some poems, but predominantly short stories by contemporary authors, write five poems and two stories, read and analyze the work of your peers, and touch base with me often as revise your work and build a portfolio.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 015.

Instructor(s): Michelle Mounts (mmounts@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this section of 223, you will be introduced to the genres of literary short fiction and poetry. We will be reading the works of short story writers and poets, both contemporary and canonical, in order to examine issues of craft, such as point of view, structure, style and technique. We will then explore various ways of using these elements of craft in our own writing. Each student will have at least one piece of fiction and one poem workshopped by our group. Many of our short writing exercises will ask you to become involved in the world around you; expect to do a bit of "fieldwork" for these exercises. Whether you are a minimalist or a lyricist, a traditionalist or an experimentalist, your writing will be welcomed and valued in this class.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 016.

Instructor(s): Ian Stuart Twiss

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is designed to introduce you to the fundamentals of writing in two genres, poetry and fiction. Attention will be paid to the specific techniques of these genres, with an underlying emphasis on that most fundamental issue that all writers must face: finding material that matters and having the courage to write honestly about it. Students are therefore encouraged to take emotional risks in their work, to write about material that they find compelling, and maybe even a little scary, to explore. The course operates on the premise that this is ultimately the most fulfilling kind of work to do, for you and for your reader. For my part, I pledge to provide you with a classroom space that provides encouragement and safety for this kind of exploration. The primary emphasis will be on student work and on the workshop (a class discussion that will provide constructive feedback to encourage strengths and strengthen weaknesses in your work). In addition, I will provide individual feedback on all work. We will also read and discuss published poetry and fiction, mostly contemporary, examining it for what it can teach us about craft, emotion, and honesty, as well as for inspiration. Class requirements include both a poetry and a fiction portfolio of revised work; exercises, workshops, and readings as assigned; attendance at two public readings during the term; and active participation in class discussions and activities. Bring your sense of humor, your willingness to seem weird, and your enthusiasm.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 017.

Instructor(s): Kate Umans (kumans@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The course will be divided into two units: poetry and fiction. Emphasis will be on class discussion of outside reading and student work. Students will participate in writing exercises designed to aid them in experimenting with different forms, modes, and voices, and will submit work weekly. A final portfolio of polished poems or stories will be required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 018.

Instructor(s):

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 019.

Instructor(s): Patty Nhu Tien Lu

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

What is the difference between memory, fiction, reality, and imagination? In this workshop, which will focus primarily on fiction and secondarily on poetry, we will experiment with the many ways in which these boundaries become blurred. Prose and poetry can bleed into one another, as do our histories, our fantasies, and our realities when conveyed into fiction. How can we experiment and play with words, rhythm, the senses, the emotions, in order to create prose that reads like poetry and feels like art? The course load will consist mainly of student writing and workshops, and will include works by authors such as Jeanette Winterson, Michael Ondaatje, Anais Nin, and Pablo Neruda

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 020.

Instructor(s): Alethea Raybeck (araybeck@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Obviously, this is a course about writing – poetry, fiction, and the non-fiction of our daily lives that we weave into our creative work. It is also (equally crucially) a course about reading: how we read the work of writers we like (and don't like); how we read our own; what we steal from other writers, deliberately and unconsciously; our fabulous sucesses and our intriguing failures. Along the way, we'll pay attention to all the familiar facets: tone, form, voice, rhythm, metaphor, etc. Readings will focus principally on contemporary writers, with a respectful nod given to "the canon." Our time will be divided evenly between poetry and fiction with some attention given to those authors who (annoyingly) write both with skill and beauty. The majority of class time will be dedicated to workshopping original student writing, but we will also discuss the work of various established authors and poets. We will attempt to come to some sort of truce with that persistent demon: revision. To that end, at the close of the term, students will submit a revised portfolio of poetry and short fiction. Grades will be based on attendance, thoughtful participation in class workshop/discussion, and the effort and improvement shown in final portfolios. Other requirements may include attendance at one or more public readings and brief responses to collections of fiction and poetry.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 021.

Instructor(s): John Lee (johnsl@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This is an introductory writers' workshop in poetry and fiction, with an emphasis on fiction. We will read and discuss several published short stories and poems to learn what we can about the crafts of fiction and poetry. Class time will be devoted to discussions of the readings, occasional written exercises, and critiques of classmates' work. Attendance and active participation will be vital to the success of the workshop. Students will be expected to take their own creative work seriously and revise it based on in-class discussions, other students' comments, and the required reading assignments. Students will be asked to write and revise 5-10 poems and 25-30 pages of fiction, offer written and oral critiques of classmates' work, and attend two readings by local or visiting writers.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 223. Creative Writing.

Section 022.

Instructor(s): Brent Armendinger (barmendi@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The world is buzzing with poems and stories. Humans don't make them as much as they happen through us, if we let them. Poet Robert Kelly says the writer's task is "[to] make it say more than you know." We will work from an idea of the hinge between private and public space that exists within all art, expanding the possibilities of where we find writing and where it finds us. We will read and practice poetry and imaginative prose with the intent of deepening our understanding of the relationships between these two media, and how one can exist in the other. We will increase our vocabulary of what is possible in poems and prose by discussing the works of various authors and attempting to implement their diverse creative strategies. Students will also choose material beyond the boundaries of literature to widen the scope of their creative undertakings. Our goal is to become a community of writers who can provide authentic engagement and constructive response to each other's work. Periodic writing exercises will help students generate source material and try out different approaches. A final portfolio is required.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 001, 027, 028 – Seeing and Believing.

Instructor(s): Ian Fulcher (ifulcher@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

From early illuminated texts to modern documentary, tools of argument and persuasion are used in every aspect of mass media. Our class will examine approaches used by written and audio-visual texts, using both classic and modern rhetorical models. We will track the components of each argument down to their prime components and discuss their viability, as well as question an entire genre of illustrated literature. Written work will consist of both analysis and creation of written and visual argument.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 002, 006.

Instructor(s): Jason Kirk (jckirk@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

Many courses ask you to slave over a hot argument for two weeks or ten pages, again and again, only for your work to reach and astonish an audience of one, who then gives it a grade and hands it back to fade into lonely obscurity. Not here! We will write, edit, publish, and distribute our own magazine of argument. What's argument? Argrument is NOT apologetic. Argument is NOT dispassionate. Argument is NOT boring. As the Bill of Rights nears the shredder, you find yourself paying attention. We'll go from there, reading and discussing spicy work from a spread of different writers and forums who demonstrate that, with a point and a passion, writing actually can emerge from the blurry and uninspired drivel you find in almost any major newspaper or magazine, into smashing, punchy, interesting prose that matters. Come ready to participate all over the university media drought.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 003, 004 – Sections 003 and 004 are restricted to CSP students. Contact the CSP Office for a Permission.

Instructor(s): Charles Lavelle Taylor III

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

(Contact the Comprehensive Studies Program Office for more information.)

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 005, 009.

Instructor(s): Aric Knuth (aknuth@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will focus on student essays in a workshop setting in order to create and examine texts that we find persuasive, and then to examine the components of this elusive concept: persuasiveness. Students can expect to write a lot (several pages each week, on average) and in several different forms (we will not confine "argumentative writing" to "the persuasive essay," although we will certainly spend time with this form.) Most importantly, I expect students to bring their own ideas, opinions, experiences, and insights to this class; not only does writing and discussing writing in a public space mean re-imagining how we relate in a public space, but much of what this class will learn will be taught by the class. I will guide our explorations of argumentative strategy and rhetorical technique, but the bulk of our learning will come from what you write, and how we learn to talk about our writing and our thoughts.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 006.

Instructor(s): Jason Kirk (jckirk@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.002.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 007, 017 – Points of View: Personal Ideas / Social Action.

Instructor(s): Anne Berggren (agbergrn@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

What makes writing persuasive enough so that you take notice? What does it take to change people's minds and perhaps even inspire them to act? To explore these questions weUll read classic persuasive writings such as Martin Luther King's "Letter from Birmingham Jail" as well as current literary, academic, and political writings and analyze the strategies different writers use. These writings will bring up a host of current issues and you can choose to write about those of particular interest to you, getting extensive feedback from readers as you explore different perspectives, construct extended arguments, test your evidence, question your assumptions, and search for ways to make your point of view clear, credible, and convincing. Writing requirements include exploratory drafts, freewritings, in-class exercises, reading responses, critiques of other students' drafts, and analyses of the writing process, resulting in a portfolio consisting of 25 pages of revised and polished essays.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 008, 022.

Instructor(s): Alex Ralph (ralpha@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

We all agree that some arguments are more interesting than others. In the same way, certain arguments make for more compelling essay subjects than others. This course will emphasize not just the elements necessary for persuading others, but the virtue of exploring ambitious and original viewpoints. What does this mean practically? The focus of your writing – and reading – will not be on producing newspaper editorials that sound like every other newspaper editorial, but on pursuing an idea that allows you to put your own authoritative stamp on it. By articulating your beliefs in a sophisticated, well-crafted manner, you can make it quite difficult for others to dismiss or ignore you. Requirements of the course will include four separate, revised essays (totaling between 20-25 pages of polished prose), critiques of your classmates' work, responses to readings, in-class assignments, oral reports, and conscientious class participation.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 009.

Instructor(s): Aric Knuth (aknuth@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.005.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 010, 019.

Instructor(s): Valerie Laken (vlaken@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

"Land of opportunity." "Democracy." "All men are created equal." Phrases like these seem intrinsically "American" and have shaped our national identity for many years. Yet where do they come from, how have they changed, and why do we cling to them? What kind of America (and Americans) do they evoke? Whom do they include and exclude? In this course we will identify and analyze the ways in which traditional American myths and values have been developed and manipulated by public figures and organizations to change the way Americans live, learn, vote, shop, and worship, among other things. We will read historical and contemporary essays relating to these issues, as well as more practical essays on the art of persuasion, logic and argumentation. Students will be encouraged to scrutinize American popular culture, advertisements, political campaigns, and legal documents in order to form their own ideas and arguments about how American myths and values are manipulated in our culture. Students will write three persuasive essays that will require critical analysis, careful argumentation, and some outside research.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 011, 030.

Instructor(s): Louis Cicciarelli (lcicciar@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This section of English 225 will be an advanced composition course with an emphasis on developing argumentative writing skills. The course is designed to build on your current ability to write clear, well-organized, cohesive essays, and to improve your skills as both interpreters and communicators of ideas and information. In addition, the focus of our work this term will be to influence others through reasoned discourse - to write with purpose. We'll learn to consider how specific claims allow us to write with greater purpose, to know that purpose, and, given the audience, to develop a strategy and discourse that offers persuasive support of that goal.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 012, 025.

Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In this course, we'll be immersed less in personal opinion than in ideas. We'll be challenging each other and ourselves to go beyond what we have decided to think, and experience the positions of others. Written papers will be on any subject the student wishes, but readings and class discussion will reckon with issues in the current national debate, with emphasis on the First Amendment, race, class, gender, and the environment. There will be three major papers, smaller assignments, and possibly a take-home mid-term. Coursetools will be used.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 013 – The Trustworthy Argument.

Instructor(s): Paul Barron (pdbarron@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

On any given issue it is unlikely that one person's argument carries the entire truth. Rather argumentation is a forum in which many voices make up the full picture. In a world where there are already too many opinions and too much to read, it is easy to disregard the spurious argument or the argument that would bully us with volume rather than persuade us by reason. If we are to be heard we must establish a certain amount of trust with those who would listen. In argumentation, as in all language, trust may be gained or lost with each assertion, reason, sentence, or word. In this course you will have the opportunity to gain a broad yet thorough perspective on argument by practicing the following: all stages of the writing process, with an emphasis on pre-writing and multiple drafts; organizational models by which arguments may be structured and/or analyzed; the purposes of argument; types of proof; logical fallacies; and more. In the final quarter of the semester you will be asked to apply these and further skills in the writing of an argumentative research paper. Class time will be divided between workshops concentrating on student essays, in-class writing, full class and small group discussion of controversial issues, individual and collaborative exercises. Regular attendance and active participation are required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 014.

Instructor(s): Francesca Delbanco (cescadel@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course is designed to introduce you to argumentative writing in its many styles and incarnations, from the personal to the public. Since persuasive composition constitutes a part of virtually every field of study and every profession, it's an important form to master, whether you're hoping to go on to change national policy or argue your way out of a dreaded distribution requirement. In this class we'll take time to focus on every aspect of the writing process, from choosing a paper topic to revising your final draft. Since reading and practicing are the two surest ways to improve writing, we'll be doing a lot of both over the course of the semester. Requirements will include three separate, revised essays (totaling about twenty pages of polished prose), several shorter writing assignments, and attentive reading of our texts. Workshopping will play an essential role in this course; by examining and critiquing drafts of each other's work, we will learn to be expert editors – of each other and of ourselves.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 015, 018 – Argumentative Writing: Leadership Without Easy Answers.

Instructor(s): Gene Laskowski (point@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The course is aimed at students who will experience over their careers positions of leadership in situations where there are no easy answers. Such situations demand two skills: the ability to identify and focus on the critical issues of the situation and the ability to listen to and evaluate varying points of view about those issues. Therefore three basic assumption guide this argumentative writing course:
(1) An argument entails differing points of view. An argumentative essay explores such differences through analysis of an issue under question. Hence, at the heart of an argumentative essay is an issue about which reasonable adults might differ.
(2) Arguments are most convincing when they are most informed. Opinion and hearsay "evidence" may be a starting point, but a convincing essay must offer more, and "offering more" means library research.
(3) Arguments are most complete when they are informed through feedback. Every essay written for the course will be critiqued by at least two other students, and each student will have the opportunity to have an essay critiqued by the entire class.

Note that this is NOT a course in simply and persuasively stating opinions you already have. Rather, this course assumes that real argument begins with authentic inquiry into important questions, questions to which you do not already have the answers; an argument then proceeds by formulating opinions via critical thinking about differing approaches to a real question. Questions for the four major essays will grow out of the required reading texts and films. Note also that the question for argumentative inquiry is not assigned; it is your business to formulate a question that matters to you. In other words, argument begins with inquiry, and inquiry is directed intellectual passion.

TEXTS: Schlink, The Reader; Krakauer, Into the Wild; Walker, The Color Purple; Suskind, A Hope in the Unseen; Weston, A Rulebook for Arguments 3rd ed.; coursepack (available at AccuCopy, 519 E. William Street).

REQUIREMENTS: Four five-to-seven-page argumentative essays each citing three sources, on-time class attendance and informed participation in class discussion, and participation in four out-of-class peer group critique sessions.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 016, 024.

Instructor(s): Carrie-Sue Sulzer (kayc@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This advanced writing course focuses on the elements of evidence and argument. It encourages students to analyze the various components of a given issue and the writing conventions of different disciplines in order to explore and defend their positions, ideas, and beliefs in writing. In the process, they will concentrate on the testing of assumptions and claims, the questioning of beliefs, and the analysis and rigorous articulation of evidence in written discourse. This course stresses the compilation of strong evidence, specifically the use of outside sources and the smooth integration of such material into the prose of an essay. The readings are primarily non-fiction, and discussions and writing assignments emphasize considerations of style, rhetorical strategies, and revision as integral to precision in developing a line of argument for the purposes of reflection as well as persuasion.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 017 – Points of View: Personal Ideas / Social Action.

Instructor(s): Anne G Berggren (agbergrn@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.007.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 018 – Argumentative Writing: Leadership Without Easy Answers.

Instructor(s): Gene Laskowski (point@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.015.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 019.

Instructor(s): Valerie Laken (vlaken@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.010.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 020 – Section 021 and 021 are restricted to CSP students. Contact the CSP Office for a Permission.

Instructor(s): Randall L Tessier

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 021.

Instructor(s): Randall L Tessier

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 022.

Instructor(s): Alex Ralph (ralpha@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.008.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 225. Argumentative Writing.

Section 023.

Instructor(s): Krista Homicz (khomicz@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/225/023.nsf

"[M]ore or less knowledgeable users of electronic media, critical or less critical readers and writers in an electronic era....will contribute to who becomes the interacting and who becomes the interacted in the network society." Mark Warschauer, Electronic Literacies (1999)

The purpose of this course is to facilitate an exploration of argumentative writing, especially that in new media. How do you make an effective argument? What do we consider an effective argument on printed pages and on digital screens? How do we read and write arguments in new media, using hypertext, visual images, sound, etc? How do we make sure that we can contribute our arguments and that they will be communicated in an electronic era? These are the questions that guide our exploration of argument this semester. Your hard work in this course should lead you to more questions and some useful, satisfying answers. Our goals for this course are that you learn how to write rich, effective arguments; analyze arguments in new media; apply techniques and technical skills to gain competency in writing with new media; and collaborate and involve others in writing and designing new media.

You'll be thinking, writing, rethinking and rewriting, and sharing generously with each other. You'll compose formal arguments for intended audiences – readers of a themed journal issue, readers from your classroom community, and readers on the WWW interested in your topic.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 024.

Instructor(s): Carrie-Sue Sulzer (kayc@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.016.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 025.

Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.012.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 026.

Instructor(s): Angela Balla (aballa@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

How can you speak on behalf of an Other – someone, some group, some thing or concept - without speaking over or around that Other? When events conflict with what you and others think is true, right, or best, what argumentative options do you have for voicing your concerns? And given our increasingly pluralist culture within this university and the nation, how can you express your beliefs in ways that compel rather than alienate your audience? In this course, we will explore what it means to argue ethically as we write in response to the plight of others. The relationship between ethics and argument is complex, for it requires that you think about a larger moral problem while keeping your own core beliefs firmly in mind; that you write in a way that does justice to those you represent; and that you address fairly the criticisms and values of others who disagree with you. Throughout the course, we will experiment with sophisticated uses of evidence, logic, style, and genre as we consider how writers across a range of disciplines (including philosophy, law, politics, journalism, business, and medicine) argue for their visions of justice. By examining the conventions of sound argument and the underlying assumptions of various audiences, you will practice appealing to appropriate authorities such that your voice, and most importantly, the voices of those on whose behalf you speak, are heard.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 027 – Seeing & Believing.

Instructor(s): Ian Fulcher (ifulcher@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 028 – Seeing & Believing.

Instructor(s): Ian Fulcher (ifulcher@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 029 – The Trustworthy Argument.

Instructor(s): Paul Barron (pdbarron@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.013.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 030.

Instructor(s): Louis Cicciarelli (lcicciar@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See English 225.011.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 225. Argumentative Writing.

Section 031.

Instructor(s): Sean Norton (spnorton@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. Prerequisites enforced on Wolverine Access. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This section of 225 will focus on developing your skills as writers: those people who can, through draft and revision, imagine in words their best thinking. To do so you will need to put your effort behind making interesting claims and presenting them clearly. Argumentation is a tool for the greater discernment of any situation, and prose of argument needs to be an artful form that captures persuasiveness, rhetoric, opinion, insight and meaning. One should be willing to bring their own perspectives to class, and further be willing to test those perspectives by means of dialogue with a community of writers and thinkers. Additionally, you will be asked to learn how to conceive of an audience and opposition to your ideas when that community is absent, seeing that each essay you're crafting must also create within its boundaries anticipation of its role in discourse. You will be asked to borrow methods and techniques from many different forms of communication, from the poem to the op-ed piece, always looking for what you can take from those who do it well. Good writers of argument-regardless of the ideas they are expressing-write cohesive and direct texts that engage a reader from the first sentence and continually find ways not to let the reader off the hook. That's our goal.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 226. Directed Writing.

Instructor(s):

Prerequisites & Distribution: Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 3 credits.

Credits: (1-3).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 227 / THTREMUS 227. Introductory Playwriting.

Section 001.

Instructor(s): Malcolm Tulip (dmtulip@umich.edu)

Prerequisites & Distribution: (3). (CE). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Theatre and Drama 227.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 229 / LHSP 229. Technical Writing.

Section 001.

Instructor(s): Pat Rubadeau (patruba@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/229/001.nsf

Although this course is entitled ¡°Technical Writing,¡± it is actually directed more toward business or professional writing. We will talk about the differences between academic discourse and technical writing, keeping in mind that the two most important points of academic writing¡ªaudience and purpose¡ªalso apply here. To achieve the result you want from a business communication, you will need to know your audience and your purpose, and you will need to design your document(s) with your audience and purpose in mind. Class discussions and peer evaluations of your drafts will help you produce effective documents.

This course will focus in part on professional examples and in part on student writings which will be discussed in a workshop format. I do not plan to lecture at any great length, and you will not have to laboriously scribble notes during each class. Rather, we will have a semester-long discussion about writing and, more importantly, about rewriting¨Dthe key to successful writing.

Because the class has a workshop component, be prepared to talk (when it's your turn, of course). Your participation in class discussion is vital. Vigorous (that is, helpful and friendly) discussion is not only fun but also a relatively painless way to learn. From our discussions, we (and I do mean we because I will be learning from you, my students) will learn not only about writing well but also about how our opinions and our styles of writing affect others in ways we might not previously have considered.

The class also focuses very strongly on the visual aspects of business writing. You will be expected to pay great attention to how nice your documents look in addition to their content, grammar, and mechanics.

Additionally, to successfully communicate, you must write with clarity and authority. To do so, you need to boost your receptive and productive vocabularies. In order to increase word recognition, all of you will periodically bring to class words from your various readings, words that have stumped you or that you needed contextual clues to understand. We as a class will define and discuss these words so that they may become a part of our working vocabularies.

I urge you to think of this class as an opportunity to learn everything you need to know before you go out into the real world. In what other class can you write your personal statement, your r¨|sum¨|, your cover letter, and get credit for them?

The Texts: The American Heritage College Dictionary, 4th Edition, hard cover; student assignments

The Requirements: 15-20 business documents, PowerPoint presentation, participation in workshop discussions, and mandatory attendance.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 229 / LHSP 229. Technical Writing.

Section 002.

Instructor(s): Paul Barron (pdbarron@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: No homepage submitted.

The aim of this course is to provide students (who may have diverse professional goals) a thorough grounding in the principles and practice of technical writing. You will become experienced in all stages of the writing process – including planning and development, drafting and revision, collaboration, and research. In the creation of technical documents, you will be required to make choices about audience and purpose, rhetorical strategy, organization, ethical and legal considerations, document design, and style. Written assignments will prompt you to produce the sorts of documents you will encounter in business and industry, such as: letters, memos, e-mails, job application materials, proposals, reports, instructions, manuals, and oral presentations. Regular attendance and active participation are required.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 229 / LHSP 229. Technical Writing.

Section 003, 005.

Instructor(s): Therese Stanton (theresem@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: No homepage submitted.

This course is designed to equip students with the writing skills necessary to enter the workplace. Assignments will focus of researching jobs in the public and private sectors and creating resumes, business letters, proposals, Power Point presentations, press releases, media packets, web pages, reports, and promotional materials. Work produced for the class will reflect the student's professional aspirations.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 229 / LHSP 229. Technical Writing.

Section 004.

Instructor(s): Lauren Kingsley (kiwirosa@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/229/004.nsf

Now's your chance to get together everything you've learned about expository writing and take it on the road. This course will ready students for all the essential writing assignments they will likely face on the job, looking for a job, seeking grants, helping causes, and more. The class will employ real-life scenarios, collaborative projects, and creative thinking. Willingness to interact in a web-based learning environment (Coursetools) is essential, and though students will be permitted to present assignments on their own designed web pages, this skill will not be addressed in class. Bring your plans for the future!

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 229 / LHSP 229. Technical Writing.

Section 006.

Instructor(s): Ray McDaniel (raymc@umich.edu)

Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit.

Credits: (4).

Course Homepage: No homepage submitted.

A straightforward approach to the practicalities of writing clear descriptive and explanatory prose whose subject matter is centered on process and sequence.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 001 – Twentieth Century Fiction: Narratives of Identity and Place.

Instructor(s): James Mitchell (jbmitche@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The twentieth century, a period in which we, our parents, and most of our grandparents were born, continues to mystify those who study it. The Italian historian Franco Venturi has observed that "the twentieth century is only the ever-renewed effort to understand it." Historians often read personal narratives and fictional stories alongside accounts of devastating wars and unfathomable cultural conflicts, believing that the individual voices represented in these tales can offer insight into the mysteries of collective human behavior. As readers of twentieth century fiction, we too will focus on the personal – stories concerned with identity and place – in an effort to further our understanding of lived experience in the past century. We will consider these and other questions throughout the term: How do writers of fiction represent the fluidity of identity and for what purposes? How can we (and why should we) read productively to make sense of the elements (language, national origin, sex, gender, religion, class, ethnicity, race, politics) that constitute identity in fiction? In what ways does the fiction of the twentieth century speak to the concerns of the twenty-first? This course will help students develop and refine a practical set of critical skills (reading closely, applying key literary terms and concepts, writing analytical responses) that should prove beneficial for their work in other humanities courses. Students will read a number of short stories and four novels. Authors will include, among others, Philip K. Dick, William Faulkner, Langston Hughes, Zora Neale Hurston, James Joyce, Franz Kafka, Ursula K. Le Guin, Tillie Olsen, Leslie Marmon Silko, and Virginia Woolf.

Coursework: active participation, weekly written responses, two five-page papers, and a final project.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 002 – Twentieth Century Scottish Fiction.

Instructor(s): Tricia McElroy (mcelroyt@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course aims to introduce students to the fiction of contemporary Scotland. Although reference will certainly be made to the writers of the "Scottish Renaissance" – their contribution to Scottish national literature can hardly be avoided – readings will be drawn primarily from the post-WWII era through the most recent manifestations of Scottish culture in present-day fiction. We will pay particular attention to the relationship between this literature and the social and historical environments from which it emerges. Special emphasis will be placed on women's writing, the differences between urban and rural voices, and the evocation of peculiarly Scottish concerns. Specifically, we will consider how the themes and formal approaches of the writers we read reflect Scotland's sense of itself as a distinct cultural community, albeit one designated as a member of the United Kingdom. As we read, students will acquire the basic skills of literary criticism, learning to define and assess concepts such narrative point of view, theme, characterization, the use of irony, and figurative language. Students should expect to read substantial amounts of fiction, to participate vigorously, and to write several literary analyses that apply the skills and understanding modeled in class discussions.

Possible reading selections:

Short stories: selections by authors such as James Kelman, Alasdair Gray, Agnes Owens, Jessie Kesson, and Robin Jenkins.

Novels: Muriel Spark, The Ballad of Peckham Rye; Iain Crichton Smith, Consider the Lilies; A.L. Kennedy, Original Bliss or So I Am Glad; and Alan Warner, Morvern Callar

Other novels for consideration: James Kelman, How Late It Was, How Late or The Busconductor Hines; Janice Galloway, The Trick is Keep Breathing; Laura J. Hird, Born Free; Iain Banks, The Bridge.

Possible films for viewing and discussion: "Trainspotting," "Morvern Callar" (should it be released in time), and "The Prime of Miss Jean Brodie."

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 003.

Instructor(s): Patrick O'Keeffe (ppo@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In trying to define the form and subject of the short story, the American short story writer and novelist, Richard Ford, in his introduction to The Granta Book of the American Short Story (1992), restates what Frank O'Connor, the Irish short story writer has written on the subject in his book, The Lonely Voice (1962). In summing up O'Conner's theories, Ford writes "that stories have no essential or natural form, but are made up things that aren't always short; that they should be plausible, have exposition, development and drama; that good stories are almost always about 'outlawed figures' hoping to escape from 'submerged population groups,' rather than about 'normal' characters who fit into society as a whole….".

What Ford asserts via O'Connor is a template for this class to begin discussing and investigating the diversity offered, in both form and subject, by the short story over the past hundred years. The class will read a wide range of American and European fiction, paying close attention to the historic/political moment of the book's production, how the work was received by readers in its day, what time in the author's careers it was written, and what writer or writers have influenced the given work; our focus, though, will always remain on the stories themselves: what happens in the story and what strategies does the author use to make it happen? how does the author render his or her community, and the individual in it? What role does race, class, and gender play in both the individual and collective life of the story? whose story it is?

We will also read a variety of novellas/short novels, beginning with William Faulkner: "Spotted Horses" appears in The Hamlet (1940); "Old Man" appears in The Wild Palms (1939); and "The Bear" appears in Go Down Moses (1940). The class will conclude with Open Secrets, by the Canadian writer, Alice Munro (1994). For me at least, this book is the most engaging and magical – indefinable, when one considers form – work of fiction in recent times. We will then, for comparative reasons, read The Beggar Maid (1974) by Munro, an earlier and equally original collection.

Munro's professed influences are Eudora Welty, Anton Chekhov, William Faulkner, Willa Cather, Edna O'Brien, Richard Ford, Lauri Moore, William Maxwell, and William Trevor – all of whose stories and more we will read and study.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 004 – Contemporary Masters of American Fiction.

Instructor(s): Aric Knuth (aknuth@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will examine short stories and novels written in the last fifty years, the authors of which – but for one exception – are still alive and writing today. I've selected texts by authors who are generally or often thought to be masters of the form, either by scholars, by juries for national literary prizes, or by other contemporary writers. We will use these texts to explore the basic elements of literary fiction (character, plot, setting, etc.) with particular attention to narrative and narrative theory. We'll spend considerable time exploring some of the following questions, as well as others you bring to the class: What makes a story a story? How does a short story differ from a novel? How does each re-invent a sense of drama, and how does each answer the question of the relationship between art and life, the literary – the dramatic – and the real? Students will write two analytic papers of 5-7 pages, various short response papers, a creative project in which students write their own short fiction, and a take-home final. Required texts: Carver, Cathedral; Cunningham, The Hours; Diaz, Drown; Ford, Independence Day; Lahiri, Interpreter of Maladies; Morrison, Song of Solomon; Munro, Moons of Jupiter; Paley, Collected Stories; Roth, American Pastoral. Additionally, we will read some short essays on contemporary fiction (i.e. Baxter's "Burning Down the House," some by Ozick, perhaps some by Gardner), and our emphasis in discussion and in the papers will be on literary analysis. We will also do a creative project in which students write their own prose fiction, since I think one of the best ways to understand how a text functions is to try writing a text yourself.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 005 – Valuing the Visible: Photography and Fiction in Nineteenth Century America.

Instructor(s): Jee Yoon Lee (jeeylee@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/230/005.nsf

In 1839, many people feared the new visual spectacle of photography; others felt dazzled by this peculiar way of documenting people and places. In this class, we will examine the American fiction that grapples with the aesthetic and cultural issues generated from the advent of the photograph. We will focus on the narrative uses – in short stories and novels – of the photography, which portrayed the contentious social policies of this period in American culture. While nineteenth-century America's fascination with photography revealed its aesthetic pleasure in beautiful momentos of loved ones and foreign places, it also exposed the darker social practices of racial, gender, and class prejudice. The course readings include short stories by popular nineteenth-century magazine writers Edgar Allen Poe, Henry James, Constance Fenimore Woolson, and Edith Wharton, and novels by Nathaniel Hawthorne, Fanny Fern, and Harriet Beecher Stowe. The course requires participation in class discussions, written assignments including two essays (4-6 pages), and a final exam.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 230. Introduction to Short Story and Novel.

Section 006 – Love and Desire in the Short Story and the Novel.

Instructor(s): Emily Harrington (eharring@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/230/006.nsf

From Pride and Prejudice to Bridget Jones' Diary, novels often center on the goal of marriage. Failed matches and adulterous affairs form the basis for still more novels. Desire sparks action and passions shape plotlines. This course will investigate the components of prose fiction – character, theme, plot, voice, style – through the forces that often create them: love and desire. While romantic love plots are an important part of the history of the novel, we will not let that limit the way we define these terms. We will think about the various objects of desire, such as another person, material things, ideals or truths, stories themselves, and consider the relationship between those objects and the subjects who long for them. Given that reading a novel forms a relationship between author and reader, these thematic questions will also be formal ones about how a text reveals itself or creates desire for it by withholding information. We will also consider how the compulsion to tell and consume stories shapes narrative strategies. The choice of readings is designed to expose students to a variety of narrative techniques originating in three different centuries and three different continents. Readings will probably include works by authors such as Salman Rushdie, Thomas Hardy, Jane Austen, Laurence Sterne, Virginia Woolf, Henry James, and Nella Larsen. Requirements include weekly readings, class participation, one set of organized reading notes, two critical papers, a class presentation, and a final exam.

NOTE: It is department policy that students must attend both the first and the second class meetings. Failure to do so may result in the student being dropped from the course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 239. What is Literature?

Section 001 – Inventing Reality. [Honors].

Instructor(s): Merla Wolk (merla@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~merla/

In this course, we will focus on the novel to explore some of the factors prompting the question "what is literature." From their inception, as John Fowles contends, fiction writers shared the "wish to create worlds as real as, but other than the world that is." Imitating life was the goal, in as diverse renderings of so-called "reality" as George Eliot's depiction of "ordinary life," or R.L. Stevenson's fantasy-like version of the odd couple of Dr. Jekyl and Mr. Hyde; or Virginia Woolf's impressionistic interior monologues. Even post-modern writers, cynical about any professed connection between literature and reality presented their own versions of reality by foregrounding their inability to be certain about the conclusions to their texts (John Fowles) or denying having any privileged information about their characters (both Fowles and Tim O'Brien). Shifting literary styles, and the changing philosophical definitions of social and psychological reality that shaped them, will be our subject. Texts will include, John Fowles, The French Lieutenant's Woman, Toni Morrison's, Sula, short stories by Hemingway and Kundera, Tim O'Brien's, In the Lake of the Woods, Art Spiegelman's Maus I and Maus II, Virginia Woolf's To the Lighthouse. Any additional texts will be listed on my web site. Requirements: a 6-8 pp. essay, a 10 pp. essay, and a final, class participation, and regular attendance.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 002 – Literature of the Americas.

Instructor(s): Jonathan E Freedman (zoid@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~zoid/

The United States is home to many literary traditions, sometimes seen as separate but all intertwined and interconnected in a variety of ways.The "classical" American literature that originates in New England is just one part of a dialogue that includes Native American, Latino American, and African-American traditions older than the United States itself, and Asian Pacific American and "ethnic" European traditions that reach back well into the nineteenth century. This course offers an introduction to the literary culture of the United States, starting from the assumption that there are multiple points of entry to the full richness of its range and variety. It is meant to serve students interested in learning how to read and respond to this country's literature from a twenty-first century vantage point. Enrollment in each section of this course will be capped at 30. Each section will be taught by a Professor. The separate sections will meet together once a week for presentations to the group as a whole on themes and issues of general interest. Students will write a number of short essays, 4-6 pages.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 003 – Global Literature.

Instructor(s): Simon E Gikandi (gikandi@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

One of the most exciting consequences of the development of English as a global language has been the emergence of a body of writing that has challenged the assumed relationship between nation, language, and literature. This course will be an invitation to discover this "new" English literature, its elaborate cultural context, and its inventive use of the English language. Through a reading of both established and new writing from Africa, India, the Caribbean, and the Pacific, we will explore the ways in which this literature has developed in response to the complex relationship between Britain and her former colonies, the demands of nationalism and narratives of cultural identity, and the challenges of producing literature in the language of "the other." How does this new literature reconcile its need to represent local situations with its global ambition? Does the new English literature demand different strategies of reading and interpretation? How has it transformed the form of the English language and the idea of literature itself? To answer these questions we will read a selection of writers from Africa (Amos Tutuola, Chinua Achebe, Wole Soyinka, and Tsitsi Dangarembga), India (R. K. Narayan, Mulk Raj Anand, and Anita Desai), the Caribbean (Jean Rhys and Michelle Cliff), and the pacific (Albert Wendt).

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 004 – Telling Stories: A Need to Narrate.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

What is it about being human that so encourages the urge "to tell" our stories to others? We, at times, play with constructing our lives into related memories, into our "stories." Primarily, the way in which we write our futures depends on "seeing" and articulating small glimpses of our past. We will want, in this class, to think about the power and the connectedness that the act of telling stories might provide. For example, a character in Ursula Hegi's Stones from the River thinks: Every time I take a story and let it stream through my mind from beginning to end, it grows fuller, richer, feeding on my visions of those people the story belonged to - until it leaves its bed like the river I love. And then I have to tell the story to someone. Like the character in Stones, our readings will often focus on the dynamics of the imaginative process – our own as well as the author's. We will mainly be reading and discussing 20th Century literature, and although the final reading list is still to be determined, the following authors will be considered for inclusion: John Irving, Margaret Atwood, Toni Morrison, Gloria Naylor, Katherine Harrison, Michael Chabon, Michael Cunningham, Isabelle Allende, Alice Sebold, and Philip Roth. Requirements: two exploratory, analytical, essays and a comprehensive final exam.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 005.

Instructor(s): Brenda K Marshall (bkmarsh@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Our method throughout the semester will be to approach the question "What is literature?" by asking, "What is [it we talk about when we talk about] literature?" 'Family' (and how that concept may vary) is the thematic lens through which we will study several contemporary novels. We will interrogate as well the notion of "home." We will begin by practicing our interpretive skills through "close readings" of Toni Morrison's Sula. This will be followed by an investigation of how earlier "literary" texts-e.g., Joseph Conrad's The Secret Sharer and Tennessee Williams' The Night of the Iguana -affect our reading of a novel, in this case Ron Hansen's Atticus. With Edwidge Dantidat's The Farming of Bones we will turn our attention to the relationship between representations of history and subjectivity in historical fiction. We will enhance our reading of Marilynn Robinson's Housekeeping through a study of selected critical essays, and in the process practice identifying what is at stake in the arguments presented. Finally, we will put it all together in our discussion of Michael Cunningham's Flesh and Blood.

There will be two one-page position papers, two exams, and one five-page paper due. Class attendance and participation are essential.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 006 – Topic?

Instructor(s): Michele L Simms-Burton (mlsimms@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

What is Literature? What is literature? How do we read? Why read a printed text in today's media culture? Distinctions are customarily made and often arbitrarily applied to texts that constitute Literature/literature. Most importantly, the influences of a media-driven society have created a climate that makes it increasingly difficult for a reader to sit alone with her own mind for hours engrossed in reading for pleasure. In a media-driven culture, creating multiple and varied texts, it is increasingly challenging to construct parameters around Literature/literature as well as lines of demarcation. In this course, we will read examples of what we regard as Literature/literature, and how different forms of literacy have developed as result of today's media and influence the way that writers writer Literature/literature and readers read Literature/literature.

Reading List: Beowulf; Jazz -Toni Morrison; Grendel -John Gardner; The Color Purple -Alice Walker; Their Eyes Were Watching God -Zora Neale Hurston; Bone Black -bell hooks; Clifford's Blues -John A. Williams; The Bell Jar -Sylvia Plath; Loon Lake- E. L. Doctorow; A Very Easy Death- Simone de Beauvoir.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 007.

Instructor(s): Eileen K Pollack (epollack@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Through close readings and analyses of a wide variety of short stories, we will develop a deep understanding of how this form works and gain insights into the ways in which all forms of fiction are written and received. Elements to be discussed include characterization, voice, style, structure, dialogue, setting, point of view and theme. In addition to reading stories for every class, students will be required to keep a reading journal and write two four-page critical essays and a five-to-ten page short story.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 008 – Literature of the Americas.

Instructor(s): Susan Y Najita (najita@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The United States is home to many literary traditions, sometimes seen as separate but all intertwined and interconnected in a variety of ways.The "classical" American literature that originates in New England is just one part of a dialogue that includes Native American, Latino American, and African-American traditions older than the United States itself, and Asian Pacific American and "ethnic" European traditions that reach back well into the nineteenth century. This course offers an introduction to the literary culture of the United States, starting from the assumption that there are multiple points of entry to the full richness of its range and variety. It is meant to serve students interested in learning how to read and respond to this country's literature from a twenty-first century vantage point. Enrollment in each section of this course will be capped at 30. Each section will be taught by a Professor. The separate sections will meet together once a week for presentations to the group as a whole on themes and issues of general interest. Students will write a number of short essays, 4-6 pages.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 239. What is Literature?

Section 009.

Instructor(s): William R Alexander (alexi@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

What does it mean to be an author, to create a story? To figure that out, we'll be authors ourselves a little and ask about our own responses as readers. We'll read texts closely, attempting to understand their less accessible meanings, the effect of the social and economic context in which they are written and read, and what's at stake for us, if anything, in the content. We'll be interested in the social purposes of literature and in questions of authors' responsibilities. We'll read or view The Official Story; Interviews with My Lai Veterans; Wiesenthal's The Sunflower; Coetzee's Age of Iron; Thomas' The White Hotel; Kingsolver's Pigs in Heaven; Baca's A Place to Stand, Cervantes' Emplumada; and excerpts from Abbey's Desert Solitaire and Matthiessen's The Birds of Heaven. Class participation will be important, and you'll write 25 pages worth of essays and literature, the nature of which we'll determine together. No exams.

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ENGLISH 239. What is Literature?

Section 010.

Instructor(s): Richard W Bailey (rwbailey@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/239/010.nsf

"There's no there there," Gertrude Stein wrote dismissively about her hometown (Oakland, California). So, nearly a century ago, she set out for Paris and became famous. For her, there was elsewhere. Too often, I think, Michiganders fail to see there's a here right here, a place that writers have used as the foundation for literary invention. So in our search for answers to the question that titles this course, we will read writers who have made our part of the world into fictional worlds. We will read novels and short stories involving our own Great Lakes homeland. Among the writers will be Sherwood Anderson, Charles Baxter, Theodore Dreiser, Janet Kauffman, Jim Harrison, Alice Munroe, Toni Morrison, and David Treuer. A midterm, final, and a series of 3-5 page papers will be required. We will learn about literature by writing and talking about it.

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ENGLISH 239. What is Literature?

Section 011 – Literature of the Americas.

Instructor(s): Maria V Sanchez (maricarl@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The United States is home to many literary traditions, sometimes seen as separate but all intertwined and interconnected in a variety of ways.The "classical" American literature that originates in New England is just one part of a dialogue that includes Native American, Latino American, and African-American traditions older than the United States itself, and Asian Pacific American and "ethnic" European traditions that reach back well into the nineteenth century. This course offers an introduction to the literary culture of the United States, starting from the assumption that there are multiple points of entry to the full richness of its range and variety. It is meant to serve students interested in learning how to read and respond to this country's literature from a twenty-first century vantage point. Enrollment in each section of this course will be capped at 30. Each section will be taught by a Professor. The separate sections will meet together once a week for presentations to the group as a whole on themes and issues of general interest. Students will write a number of short essays, 4-6 pages.

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ENGLISH 239. What is Literature?

Section 012 – Trials and Tragedies:The Literature of Unhappiness.

Instructor(s): Viv Soni

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/239/012.nsf

Literature is obsessed with the question of unhappiness. Reflection on human suffering – its causes and origins, its purpose and meaning – is one of the perennial tasks of literature. Implicit in different kinds of narratives are different answers to the questions "Why do we suffer?"and "Is there any possibility for happiness?" The task of this class will be to examine a broad range of different narratives in order to determine how the very structure of a narrative provides answers to the questions about human happiness and unhappiness. From Greek tragedies to biographies of martyrs to modern novels, we will attempt to discover the very different strategies by which narratives address the problem of unhappiness, and the different assumptions such narratives make about what happiness means. Why is Greek tragedy so different from the modern novel in the way it treats suffering? What does this mean for the way we understand happiness? How does the modern novel change our understanding of happiness? These are some of the questions we will explore, trying to understand what constitutes a "tragedy" and how this is different from the innumerable narratives of trial and suffering which abound in narrative literature. In this class, we will develop a sophisticated series of strategies for analyzing narratives, and we will learn to approach from a formal or narratological perspective one of the most fundamental questions posed by literary texts: how are we to make sense of the fact of human suffering. Implicit in these narratives, and their answer to the question about human happiness, we will find an entire moral and political vision, an understanding of the individual's relation to the social world, and ultimately, an account of the meaning and purpose of human life. Finally, we will see that narrative literature transforms how we ourselves perceive our possibilities for happiness.

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ENGLISH 239. What is Literature?

Section 013 – Literature of the Americas.

Instructor(s): Anita Norich (norich@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 239. What is Literature?

Section 014.

Instructor(s): Bankowski

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 240. Introduction to Poetry.

Section 001 – [Honors].

Instructor(s): Linda K Gregerson (gregerso@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We live in a period of immensely rich poetic production in the United States: men and women of widely divergent cultural backgrounds, aesthetic persuasions, and registers of "voice" are producing lyric poetry of unprecedented variety and abundance. But how is a reader to find foothold among the hundreds of literary magazines and book publications that clamor for attention? How to negotiate between private pleasure (and solace and reflection) on the one hand and this jubilant (and contentious and contradictory) marketplace of verse on the other? How to find a listening post midst all this noise? This course is not conceived as an historical survey, but we will spend approximately half the term examining poems from another period of intense lyric production – the 16th and 17th centuries in England – because these poems provide a particularly vivid introduction to the resources, and resourceful violations, of traditional poetic form. In the second half of the term, we will read and discuss and listen to a group of recent American poems, ones I think are particularly good at suggesting the variety of contemporary pleasures, good too at constructing the margin of silence that poetry, like other forms of music, requires in order to be heard. From this modest, two-pronged historical perspective, we will explore some highly immodest questions about poetic form: How does it make meaning? How does it sound? What is its relationship to human imagination?

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ENGLISH 240. Introduction to Poetry.

Section 002 – [Honors].

Instructor(s): Marjorie Levinson (cecily@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is introductory insofar as it presents the basic terms of critical discussion about poetry and the basic period-concepts. Presentation of these terms and concepts will follow from the examples of the poems (and, of the poetic kinds and periods) studied, in lieu of a more abstract and categorical method of proceeding. The chief difficulty of the course will be the work of synthesis expected of the students both in class and in their written assignments.

Materials: to consist of a poetry anthology representing an array of poems written in English, early modern through contemporary; technical handbook (reference: meters, verse forms, tropes)

Requirements: six short papers on assigned topics;possible in-class presentations; possible final

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ENGLISH 240. Introduction to Poetry.

Section 003.

Instructor(s): Lyall H Powers

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Poetry at its best is a mode of human communication, both vocal and scriptural, the aim of which is not the imparting of information per se – like "Directions" on a soup can or "Instructions" for an erector set – but rather intellectual and emotional engagement with some important human concern like love, folly, death, fun, etc. We will begin by looking at kinds of poems and how they work – like learning the rules and techniques of basketball or chess or dancing (and other pleasurable activities); then we will look at the range of treatment given those "human concerns" in poems written over the centuries. We will consider particularly how poems communicate what they want to engage us in and entertain us with. We will discuss these matters in class, write about them in a few short exercises (2 pp. each) and a couple of little essays (5 pp. each), and commit some good poetic example (say 50 lines) to memory. The course has little practical use: it just helps you understand human creatures (including yourself) and how they interact with each other – merely educational.

Text: The Norton Anthology of Poetry, shorter ed.

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ENGLISH 240. Introduction to Poetry.

Section 004.

Instructor(s): Joyce A Meier (meierjzz@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course discusses and analyzes numerous samples of poetry by past and present practitioners. We will ask: What makes a poem, and how do we know this? Do poems tell stories? Is poetry oral or written? Who is poetry for? In addition to reading poems selected from an anthology, we will look in detail at the works of at least two contemporary poets – if possible, the same poets that we hear when, as members of this extraordinarily lively writing community, we attend two poetry readings held outside of class. Course evaluation will be based on oral contributions (class discussion and an oral presentation), as well as the assigned writings, which include one-page responses to the poetry readings; several short analyses of specific poems, and one longer paper that compares several poems in terms of theme, form, and/or imagery. To sharpen our poetry-reading skills, we will also memorize / recite a small poem in class, and do some (non-graded) poetry-writing exercises.

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ENGLISH 240. Introduction to Poetry.

Section 005.

Instructor(s): Richard D Cureton (rcureton@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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. During the term, we will move from a general survey of poetic techniques and forms to a more detailed study of the work of a selection of authors from the Renaissance to the present. For the former, we will use Western Wind by John Frederick Nims. For the latter, we will use a coursepack of selected poems. Formal writing will include three (ungraded) exercises in poetic analysis and four (graded) papers (3-5 pages) on individual authors and poems.

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ENGLISH 240. Introduction to Poetry.

Section 006.

Instructor(s): Nancy S Reinhardt (nsreinha@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will focus on the techniques of verse – how poems are put together and how they work. We will consider a wide range of texts from the Renaissance to the present day, with an emphasis on shorter lyric poetry. Requirements include full class participation, several written exercises, an oral project based on the study of a major poet, and a final exam. Readings will be from The Norton Introduction to Poetry (8th edition), Mary Oliver's A Poetry Handbook, and Seamus Heaney's translation of Beowulf.

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ENGLISH 240. Introduction to Poetry.

Section 007.

Instructor(s): James Boyd White (jbwhite@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The aim of this course is to learn to read poetry by doing it together. We shall read with care a series of poems drawn from different periods of English and American literature, focussing attention on what makes each poem work: its formal and metric structure, its imagery, the tension between its rhythms and those of ordinary speech, its tones of voice and imagined speakers, it ironies, ambiguities, allusions, and surprises. Our central question is what kind of meaning each poem has, and how that meaning is made. The idea is to work with poetry at its very best, in the hopes that we can learn from reading this set of poems how to read others as well.

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ENGLISH 240. Introduction to Poetry.

Section 008.

Instructor(s): Ted Chamberlin (chambert@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will introduce a wide range of poetry, from various periods and cultural traditions, to familiarize students with aspects of poetic technique and build interpretive skills. The relationships between spoken and written language; between poetry and prose; and between poetry, painting and music will form part of the discussion. Assignments will include two short papers, a longer term paper and an oral presentation. There will be no final examination.

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ENGLISH 240. Introduction to Poetry.

Section 009.

Instructor(s): Andrea Zemgulys

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/240/009.nsf

No Description Provided. Contact the Department.

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ENGLISH 240. Introduction to Poetry.

Section 010.

Instructor(s): Jennifer Lutman (jlutman@umich.edu)

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/240/010.nsf

We often hear people say "I don't get it" after reading a poem, as if poems were little puzzles or tests of our intellect and contain messages written in a secret code. Perhaps you feel this way about poetry, or perhaps you do "get" poetry but want to get more from it, or you want to be able to talk in more depth and detail about it. This course is designed to help you "get," discuss, and enjoy poetry more fully. We will focus on modern and contemporary American poetry but will also examine the traditions and voices to which it responds. Course requirements include class participation, a daily journal, two papers (5 pages each), a midterm, a final, and a presentation. Readings will be drawn from an anthology, Michael Meyer's *Poetry: An Introduction*.

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ENGLISH 240. Introduction to Poetry.

Section 011.

Instructor(s): O'Keeffe

Prerequisites & Distribution: Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 245 / RCHUMS 280 / THTREMUS 211. Introduction to Drama and Theatre.

Section 001.

Instructor(s): Jane Westlake (jewestla@umich.edu)

Prerequisites & Distribution: No credit granted to those who have completed or are enrolled in RCHUMS 281. (4). (HU). May not be repeated for credit.

Foreign Lit

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See Theatre and Drama 211.001.

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ENGLISH 267. Introduction to Shakespeare.

Section 001 – Shakespear Without Tears.

Instructor(s): William Ingram (ingram@umich.edu)

Prerequisites & Distribution: Completion of Introductory Composition. (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will have something for everyone: for the student new to Shakespeare as well as the student familiar with the plays or with experience acting in them. We will study six plays, some of them familiar, some not. We will explore the plays first as pieces for the stage, which is what their author had in mind for them. We will also discuss the problems attendant on treating them (as we tend to do nowadays) as literary works, and how literary-critical approaches to the plays intersect with theatrical approaches. We welcome students interested in both literature and theater. We will also set the plays in their cultural and historical context, a fascinating subject in itself.

The course will be a team effort by the two teachers, and will revolve around intelligent writing and active discussion by students. Students wishing further information may e-mail either of the teachers at ingram@umich.edu or aboboc@umich.edu.

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ENGLISH 270. Introduction to American Literature.

Section 001.

Instructor(s): Gorman L Beauchamp (gormanb@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will cover some of the classic works of American fiction: The Scarlet Letter,Billy Budd, Huckleberry Finn, Daisy Miller, The Red Badge of Courage, The Awakening, The Age of Innocence, The Great Gatsby, As I Lay Dying, and Their Eyes Were Watching God.

There will be frequent short writing assignments, two 4-5 page papers, and two exams.

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ENGLISH 285. Introduction to Twentieth-Century Literature.

Section 001.

Instructor(s): Peter M Bauland (pbauland@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical, and moral issues and preoccupations of the 20th century. The works we will study are eclectic and arbitrarily chosen; there is no attempt to be all-inclusive, nor will we limit ourselves to English and American authors. Our subject will be some representative works of modern thought and literature. We will place equal emphasis on what these works say and how they say it. Our purpose is to sharpen the insight and intelligence with which we read and analyze some of the probing "documents" of our time. Candidates for the reading list [availability of texts and reasonableness of prices will be factors] include works by Albert Camus, D.M. Thomas, E.L. Doctorow, Philip Roth, Saul Bellow, Friedrich Duerrenmatt, Jerzy Kosinski, Margaret Atwood or several others. Informal lecture and discussion, the amount of which will be influenced by the size of the class. Thoughtful, active participation "counts." Two papers [ca. 5-7 pp. each] and a final exam.

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ENGLISH 299. Directed Study.

Instructor(s):

Prerequisites & Distribution: Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 3 credits.

Credits: (1-3).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

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ENGLISH 301. The Power of Words.

Section 001 – Language and Gender. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Anne Leslie Curzan (acurzan@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The relationship of language and gender has fascinated speakers and scholars for centuries, from Protagorus – who is said to have created the labels masculine, feminine, and neuter for nouns – to authors of current popular literature such as Deborah Tannen. Do women and men use language differently? Do women speak more "properly" than men? Is the English language sexist? Are these, in fact, the questions we should be asking? Our explorations of the relationship of language and gender in this course will have a dual focus: constructions of gender in the structure (grammar and lexicon) of language, and of the English language specifically; and the ways in which gender plays out in patterns of discourse, especially in relation to other factors such as race, class, socioeconomic status, and age. In the process, we will address the complex relationship of language, identity, and power. As we read some of the most frequently cited articles in the field, we will outline the progression of language and gender research since 1975, when Robin Lakoff's book Language and Women's Place was published; by the end of the course we will be in the position to discuss the future of gender and language studies – what questions we think should be the focus of investigation. The work commitments will include short weekly written assignments, two papers (one of which will involve the transcription and analysis of a tape-recorded spoken conversation), and a final exam. No background in linguistics is required; a genuine interest in the workings and power of language is highly recommended.

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ENGLISH 308. History of the English Language.

Section 001.

Instructor(s): Thomas E Toon (ttoon@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Our language has changed dramatically in the twelve hundred years of its recorded history. We would not recognize speech (Old English) of the first Germanic peoples who migrated to post-Roman Britain in the fifth century; Chaucer's Canterbury Tales (Middle English) might seem to be written in a foreign language; even Shakespeare's (early Modern) English requires special efforts. Our main task will be to understand something of sounds, words and structure of English at each of these earlier periods, but especially we will work to understand why and how a language changes (or doesn't). Course work will consist of frequent short assignments, group tasks, in class workshops, a midterm and final. The major prerequisite is that you come prepared to have fun.

This course satisfies the requirement for a course in language for English concentrators in the Teaching Certificate Program and fulfills the Pre-1830 requirement for English concentrators.

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ENGLISH 309. American English.

Section 001 – Multilingual America. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Richard W Bailey (rwbailey@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/309/001.nsf

All languages ever spoken in the Americas are immigrant languages, and all have contributed to the American English we speak today. In our course we will study a variety of languages, especially those in the heritage of the students who enroll. (If your background is Polish, Hispanic, Korean, African-American, or almost anything else, there will be a special project for you in this course.) The United States has always been a multilingual nation, but our government has seldom been supportive of languages other than English. We will focus particularly on how linguistic diversity has been "managed" by official and unofficial actions through our national history. We will also look at future trends in linguistic diversity and consider their impact on us and the world. Two short papers, one major research paper, a midterm, and a final are required.

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ENGLISH 313. Topics in Literary Studies.

Section 010 – Science Fiction.

Instructor(s): Eric S Rabkin (esrabkin@umich.edu)

Prerequisites & Distribution: (4). (HU). May be elected for a maximum of 8 credits. May be elected more than once in the same term.

Credits: (4).

Course Homepage: http://www-personal.umich.edu/~esrabkin/313SFw03.htm

We will examine both the history and the diversity of science fiction prose by reading a representative international sampling of 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 for the course will revolve around weekly, short papers, and two longer papers. There are no exams. Authors studied include Mary Shelley, Poe, Hawthorne, Wells, Zamiatin, Capek, Stapledon, Bradbury, Clarke, Miller, Dick, LeGuin, Lem, and Gibson.

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ENGLISH 315 / WOMENSTD 315. Women and Literature.

Section 001 – Women and Novels. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Ilana M Blumberg (blumberg@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will investigate the relationship between women and novels. Beginning in the late seventeenth century and making our way into the early twentieth, we will explore the ways women s lives have been imagined by female and male novelists. At the same time, we will consider how developments in print technology and publication practices shaped both the genre of the novel and the role of women as authors, readers, and subjects of fiction.

Readings may include: Aphra Behn, Oronooko; Daniel Defoe, Moll Flanders; Jane Austen, Northanger Abbey; George Eliot, Mill on the Floss; Charles Dickens, David Copperfield; George Gissing, New Grub Street; Virginia Woolf, A Room of One's Own.

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ENGLISH 315 / WOMENSTD 315. Women and Literature.

Section 002 – Women's Writing in America. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Sara Blair (sbblair@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is intended as a survey of the developing traditions of women's writing in the U.S. throughout the last century and more, during the era we understand as modernity. We'll spend time not only with the major literary genres (the novel, the lyric, drama, short fiction, autobiography) and some popular ones (romance, film), but also with different ways of thinking – historically, critically, textually – about women and the writing they produce and read. Some of our key questions: What kinds of social and imaginative spaces do women writers (and readers) occupy? What strategies do they adopt to address particular aspects of their shared, or their nationally or ethnically particular, experience? Do women readers have distinctive strategies or interests; why and how do they read? Our writers will include Emily Dickinson, Charlotte Perkins Gilman, Sui Sin Far, Anzia Yezierska, Sylvia Plath, Toni Morrison, Grace Paley, Bharati Mukherjee, and Gish Jen. Course requirements will probably include a midterm and final exam, reading journal, and three short essays.

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ENGLISH 315 / WOMENSTD 315. Women and Literature.

Section 003 – Women and Literature in Medieval England. Satisfies the pre-1600, pre-1830, and New Traditions requirements for English concentrators.

Instructor(s): Catherine Sanok (sanok@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course explores women's relationship to medieval literary culture: we will read works by medieval women, including Marie de France, Julian of Norwich, and Margery Kempe, as well as works accessible to or written for women, including romance, civic drama, and devotional and moral literature. We will also read anonymous texts in a feminine voice (the Findern lyrics) and non-literary texts written by women (letters written by the Paston women). Texts will be studied through the variety of social contexts-court, cloister, and city- in which women's literary activity took place, so that we can trace the relationship between gender and other cultural categories in medieval England. Some key topics for the course include: how expectations about women's relation to literature influenced the texts women wrote, how women writers responded to those expectations in startling ways, and how women's access to certain genres as readers and patrons affected the shape and social meaning of medieval literary traditions. Course requirements: two papers, a take-home exam, and either a presentation or creative project.

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ENGLISH 317. Literature and Culture.

Section 001 – U.S. Culture of the 1950s

Instructor(s): Julian Arnold Levinson (jlevinso@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

This course examines diverse currents of American literature, film, music, and cultural criticism from the 1950s, a decade that witnessed America's emergence as a global "superpower." The works under discussion will be examined in relation to key social and historical phenomena, such as the rise of the Cold War, the expansion of the middle class, the "re-domestication" of women after the war, and the beginning stages of the Civil Rights movement. The writers we will consider include Grace Metalious, Norman Mailer, Ralph Ellison, Robert Lowell, Sylvia Plath, John Cheever, James Baldwin, Tillie Olsen, and Jack Kerouac. We will also listen to selected Jazz recordings and view representative anti-Communist and "liberal conscience" films. Students will write two papers (4-6 pages) and do an in-class presentation; there will also be a midterm and a final exam.

This course fulfills the American Literature requirement for English concentrators.

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ENGLISH 317. Literature and Culture.

Section 002 – Intergenerational Memory in U.S. Literature. Satisfies the American Literature and New Traditions requirements for English concentrators.

Instructor(s): Joshua L Miller (joshualm@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

R&E

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

In this course, our focus will be on the painful and intensely illuminating process of storytelling that transmits the experience of traumatic events – such as slavery, the Holocaust, rape, internment, expulsion, and lynching – to later generations. These novels, films, and musical works show that private, individual memories are often reexperienced by the storyteller's descendents in unexpected ways. In such works, individuals who have been told of crimes committed against their parents or grandparents experience the violence of these events in their own lives.

We'll examine the ways that writers, directors, musicians, and artists turn private memories into public documents – novels, films, songs, images – in order to demonstrate the lingering effects of ancestral memories on present-day lives. These stories raise important questions about art and the process of producing collective memory.

What is the impulse or objective of intergenerational stories? How do these artists come to terms with the burden of responsibility that such stories produce? What sort of creative methods of artistic expression do the inheritors of these memories invent in order to live up to this legacy of responsibility? How might intergenerational stories be foundational to identity?

We'll read texts featuring characters that seek to understand how their identities have been shaped – consciously and unconsciously – by inherited memories that they experience as their own. The readings will include novels, short stories, and poems by William Faulkner, Kate Chopin, Jean Toomer, Langston Hughes, Allen Ginsberg, John Okada, Gayl Jones, Leslie Marmon Silko, and Art Spiegelman, as well as films and jazz/blues recordings. Film screenings will be scheduled outside of class meetings; film and musical materials will also be available at the Film and Video Library and on reserve.

Course requirements include informed participation, quizzes, one short essay (2-3 p.), and a final essay (10-12 p.). For attendance and waitlist policies, see course website.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 003 – Anarchy in the U.S.A.: Exploring Radical Art. Meets with American Culture 301.003.

Instructor(s): John McGuigan (jmcguig@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

An attempt to "think historically" motivates this course, an attempt we'll engage both in theoretical terms (What can it mean to think historically?) and in practical terms (How can one do it?). In some ways, we can change the past, and do so every day – not in terms of what happened but in our understanding of it. Using the University's Labadie Collection, we'll confront these issues by exploring the complex relationship between art and politics, discovering the concrete artifacts that surround and inform twentieth-century works of literature written in America prior to World War II. In the Western world, this particularly rich period saw an explosion of oppositional art movements (Cubism, Dada, Surrealism, etc.) and political movements (socialism, anarchism, fascism, etc.). Studying art works of various media alongside contemporaneous reactions and primary documents from radical political movements lets us examine not only relationships between specific art trends and specific political positions of the past, but also the politics of identifying and analyzing such relationships – in effect, the making of history. By adding a political dimension, our searches may lead us to consider the extent to which a given historical economic situation promotes a specific range of political and artistic expression. How do these modes of expression speak to each other or to the historical moment?

Assignments for this class include three short papers and a 10pp. research project. A significant portion of this class' workload comes from treasure-hunting in the University's library and museum holdings. Course readings will include novels such as For Whom the Bell Tolls (Hemingway), Pity Is Not Enough (Herbst), Jews Without Money (Gold), and 1919 (Dos Passos); news clippings, pamphlets, and other archival materials; and short theoretical pieces.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 004 – Making History: Radical Art and Politics, 1900-1940.

Instructor(s): John McGuigan (jmcguig@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

An attempt to "think historically" motivates this course, an attempt we'll engage both in theoretical terms (What can it mean to think historically?) and in practical terms (How can one do it?). In some ways, we can change the past, and do so every day – not in terms of what happened but in our understanding of it. Using the University's Labadie Collection, we'll confront these issues by exploring the complex relationship between art and politics, discovering the concrete artifacts that surround and inform twentieth-century works of literature written in America prior to World War II. In the Western world, this particularly rich period saw an explosion of oppositional art movements (Cubism, Dada, Surrealism, etc.) and political movements (socialism, anarchism, fascism, etc.). Studying art works of various media alongside contemporaneous reactions and primary documents from radical political movements lets us examine not only relationships between specific art trends and specific political positions of the past, but also the politics of identifying and analyzing such relationships – in effect, the making of history. By adding a political dimension, our searches may lead us to consider the extent to which a given historical economic situation promotes a specific range of political and artistic expression. How do these modes of expression speak to each other or to the historical moment?

Assignments for this class include three short papers and a 10pp research project. A significant portion of this class' workload comes from treasure-hunting in the University's library and museum holdings. Course readings will include novels such as For Whom the Bell Tolls (Hemingway), Pity Is Not Enough (Herbst), Jews Without Money (Gold), and 1919 (Dos Passos); news clippings, pamphlets, and other archival materials; and short theoretical pieces.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 005 – The Arts of the Apocalypse.

Instructor(s): Ralph Williams (fiesole@umich.edu)

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

For nearly two thousand years now, apocalyptic ideas have dominated theories about the shape of history and social experience. Up until about three centuries ago, those theories were almost exclusively focussed on God's will and ways in history. Since then, various secularizing models of historical experience have emerged, but have formed themselves deeply on the general shape of the apocalytic model. Apocalyptic ideas also have pervaded much artistic production – in poetry, in painting, in music, in drama and film. And notions of apocalypse are also deeply embedded in current discussions of the relations between Christianity and Islam.

In this course we will study first the emergence of apocalyptic ideas in Jewish, Christian, and Muslim materials, then we will follow the development of apocalyptic theories and representations in the works of such figures as Augustine, Dante, Savonarola, Botticelli, Michaelangelo, Shakespeare, Milton, Wordsworth, Wagner, Verdi, Marx, Nietzsche, Freud, and Ford.

There will be two essays for the course, and one final examination.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 317. Literature and Culture.

Section 006 – Topic?

Instructor(s):

Prerequisites & Distribution: (3). (HU). Laboratory fee ($35) required. May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Lab Fee: Laboratory fee ($35) required.

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 318. Literary Types.

Section 001 – Satire.

Instructor(s): Mark D Koch (markkoch@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/318/001.nsf

Jonathan Swift said that satire is "a sort of glass wherein beholders do generally discover everybody's face but their own." This class will widely explore the form and function of the satiric glass in all of its manifestations. While there will be no preset parameters on where this exploration will take us, we will be particularly interested in the ethical dimension of satire. One of our initial inquiries therefore will be, to what degree is satire an attempt to make right a world that the writer sees as going wrong? Beyond this there are many other issues that will take up: What is the nature of irony? How does irony differ from satire? How is it essential to it? Is parody a kind of satire? Is satire necessarily cynical, mean spirited, and destructive? What are the limitations of satire?

The reading for the course will be varied. We will begin with a consideration of a few ancient satirists, including Horace and Juvenal, and look as well at some excerpts of a few medieval satirical texts. We will next look at the role of satire in the early modern period before turning to the eighteenth century – arguably the historical high point of satire – and considering works by the Swift, Gay, and Pope, Voltaire, and others. Following this we will look to the satire produced in the United States, with a particular emphasis on the satire of the last half-century. It is hoped that throughout the semester we can also look beyond the literary texts to consider the satire in the broader culture. Therefore, please keep in mind that while we will be reading literary texts for much of the semester, we will also want to consider how satire is employed in painting, music, film, television, cartoons, magazines, and anywhere else it can be found. It is hoped that you will feel free to pursue your own interests in satire in this course and bring them to the class discussion and the papers.

This course fulfills the pre-1830 requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 319. Literature and Social Change.

Section 001 – Theatre and Social Change. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): William R Alexander (alexi@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course teaches students how to use their creative skills and social commitments to facilitate the powerful expressiveness of high school youth and of incarcerated youth and adults. In-class exercises, improvisations, and discussion of theater and pedagogical texts prepare us to assist workshop participants in imagining and shaping their own plays. Students will work an average of two to three hours a week in one of a number of state correctional facilities located in Adrian, Detroit, Jackson, Ypsilanti, and Plymouth, at Henry Ford and Cooley High Schools in Detroit, or at one of four juvenile facilities.. An additional two hours is spent in class meetings, and a further hour is devoted to meetings between each site team and the instructor. No exams. Admission to the class is by permission of instructor. Check 3275 Angell for specially posted hours for interviews for this course.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1 and 5, Permission of Instructor

ENGLISH 319. Literature and Social Change.

Section 002 – Multicultural Britain. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Simon E Gikandi (gikandi@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The idea or image of Britain as the center of a homogenous and pure culture, one reflected in a set of "island" stories untouched by the rest of the world, is perhaps one of the most persistent myths in the study of British literature, society, and culture. In this course we will attempt to question this mythology by focusing on the writing of a group of writers who, in the last twenty or thirty years, have transformed the idea of Britain by calling attention to the metropolitan, migrant, and hybrid nature of British society. By reading novels by British writers whose backgrounds or origins are to be found in Asia, Africa, and the Caribbean, we will try to reflect on how the new, multicultural Britain is generating narratives whose goal is nothing less than the transformation of what it means to be British. How and why did this literature become important to the body of British literature and what is its relationship to established English writing? What forms of writing do "ethnic" British writers use to examine the popular culture and lifestyle of a national culture that is being transformed by people it used to define as outsiders? To answer these questions, we will start with British "Big House" novels concerned with the crisis of Englishness at the beginning of the twentieth century (Forster's Howard's End and Waugh's Brideshead Revisted ) and their parody by the Anglo-Japanese writer Kaguro Ishoguro (Remains of the Day ). The rest of the course will focus on the multicultural novels of Diran Adebayo, Hanif Kureishi, Salman Rushdie, Meera Syal, Timothy Mo, and Zadie Smith. We may also view video versions of some of the films involved in this rethinking of Britishness.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 319. Literature and Social Change.

Section 003 – The Quest for Utopia.

Instructor(s): Gorman L Beauchamp (gormanb@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will survey the most sifnificant attempts to model an ideal society, a utopia, from Plato to the present; and then consider the primarily 20th century reaction against utopia, the dystopia. Works to be read include parts of Plato's Republic, Plutarch's account of Sparta, More's Utopia, parts of Gulliver's Travels, Bellamy's Looking Backward, Morris' News from Nowhere, and LeGuin's The Dispossessed; and, of the dystopias, part of Dostoevsky's Notes from Underground, Zamyatin's We, Huxley's Brave New World and Atwood's The Handmaid's Tale. There will be a midterm and a final exam. Class format and writing assignments will depend on the size of the class and grading support.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 319. Literature and Social Change.

Section 004 – Literature and Revolution, 1640-1800.

Instructor(s): Vivasvan Soni (vivasvan@umich.edu)

Prerequisites & Distribution: (3). (HU). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/319/004.nsf

One of the most pervasive experiences of the seventeenth and eighteenth centuries is the experience of revolution. At least five major revolutions occur in this period: the English Revolution, the Glorious Revolution, the American Revolution, the French Revolution, the Haitian Revolution. Each revolution is different in character from all the others, and each acquires a distinct symbolic significance of its own, in part through its representation in literature. This class will examine the literature from this period which specifically addresses the experience of revolution, in order to examine both how the experience of revolution affects literary representation, and what role literary representation plays in shaping a revolution and giving it significance. We will try to understand how literature struggles to create a language for making sense of the traumatic event which is revolution, and how the appropriation of literary or aesthetic representations can be crucial to the success or failure of revolutions. Although much of the reading for the class will be "literary," we will not be bound by such conventional genre distinctions; rather we will study a variety of different texts which speak to the experience of revolution, which express the hopes and fears of revolution, looking carefully in each case at the techniques of representation, the rhetoric, the narrative styles, the tropes of revolutionary discourse. The question that will guide us throughout is, how do the various forms of literary representation give shape and meaning to the experience of revolution?

Readings will include, but not be limited to, the following:

Hobbes, Leviathan (selections); Milton, Paradise Lost and Tenure of Kings and Magistrates; Harrington, Oceania; Locke, Second Treatise on Government (selections); Pope, Essay on Man; Pamphlets of the American Revolution (selections); Paine, Common Sense; Jefferson, Declaration of Independence; Federalist Papers (selections); Burke, Reflections on the Revolution in France; Blake, America and Europe; Wordsworth, selections; Shelley, Prometheus Unbound; Scott, Waverley; Dickens, A Tale of Two Cities; Kleist, Die Verlobung in Santo Domingo.

This course satisfies the pre-1830 requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 323. Creative Writing.

Section 001 – Poetry.

Instructor(s): Laurence A Goldstein (lgoldste@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This is a poetry section; we will spend the academic term, in the workshop and in tutorials, discussing the craft and techniques of verse. There will be assigned exercises, but for the most part each student will work independently to develop the voice and style(s) most congenial to his or her talent. Students will keep a journal devoted mainly to their reading of poems and essays about poetry. At least one anthology will provide opportunities for conversations about contemporary poetics. Active participation in class discussion is an essential requirement of this course. Enrollment is based on your portfolio. Students must submit a 10-15 page portfolio by noon on January 6 to 3187 AH.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 1, Enrollment is based on 10-15 page portfolio submission. Students must add themselves to the waitlist and then turn in a portfolio by noon on Monday, January 6th, to 3187 Angell Hall..

ENGLISH 323. Creative Writing.

Section 002 – Fiction.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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 to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

In order to enroll in this course, students need to:

  • Get on the Waitlist.
  • Submit a 10-15 page portfolio of poetry or prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on Monday, January 6th.
  • When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 323. Creative Writing.

Section 003 – Fiction.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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 to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required.

In order to enroll in this course, students need to:

  • Get on the Waitlist.
  • Submit a 10-15 page portfolio of poetry or prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on Monday, January 6th.
  • When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 323. Creative Writing.

Section 004 – Poetry.

Instructor(s): Macklin Smith (macklins@umich.edu)

Prerequisites & Distribution: ENGLISH 223 and junior standing. (3). (CE). May be elected for a maximum of 6 credits. May be elected more than once in the same term.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Although we shall read quite a number of modern and contemporary poems in order better to understand our actual and possible contexts as writers, most of our work will take place in workshop format: we shall write poems weekly, exchange them, read them aloud, and critique them both orally and in writing. For the workshop to succeed, everyone will need to turn in work on time and be able to offer constructive criticism – criticism that is respectful but not fawning, honest but not cruel, personally meant but not egotistical. Evaluation will be based on the quality of the work produced weekly, on the quality of a final portfolio, and on workshop citizenship. The goal of the course is that all of us realize our best potential as poets, which should mean that we learn together to improve our craft. In order to enroll in this course, students need to:

  • Get on the Waitlist.
  • Submit a 10-15 page portfolio of poetry or prose to the Main Office, room 3187 Angell Hall to the Undergraduate Student Services Assistant by noon on Monday, January 6th.
  • When you bring in your portfolio, please complete the 323 registration form. You will be notified by the Department of acceptance into the course, shortly after.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: Enrollment is based on 10-15 page portfolio submission. Students must add themselves to the waitlist and then turn in a portfolio by noon on Monday, January 6th, to 3187 Angell Hall..

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 001 – The Dwarf, The Demon, The Divided Self.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

Literature often attempts to transform "strangers" into "friends" for us. "Works of fiction exist in a space between the Double and the Other. To enter into a work of fiction is in a sense to transform the Other into a Double," writes Professor Paul Coates. That is, those "Others," those strangers, may, as our reading progresses, become closer and closer to resembling parts of ourselves, of our "Doubles." In this writing seminar, we will want to concentrate our attention on how and why authors involve us in the most unlikely identifications. How does John Irving, in A Prayer for Owen Meany, create a hero for us out a little guy who looks translucent (his blue veins show through his skin), has a strange sounding voice, and is extremely manipulative? Or how does Katherine Dunn in Geek Love have a father, out of "love," produce a family of freaks who we actually are intrigued with and finally can find ways in which we recognize some of Ourselves imbedded? Pretty much all semester we will be reading works that help us to make meaning and connections out of the implications of the three unlikely joined subjects in the title of this class. And we will consistenly be aware of that "space," between the text and ourselves, between the characters and our own identities. We want to consider the ways in which we, in the process of reading and writing, actually create the text and recreate our "selves." The work of the semester is to write and revise exploratory, analytical essays, the subject of which will be determined by each individual student.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 002 – The Dwarf, The Deamon, and The Divided Self.

Instructor(s): Lillian L Back (lillianb@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

Literature often attempts to transform "strangers" into "friends" for us. "Works of fiction exist in a space between the Double and the Other. To enter into a work of fiction is in a sense to transform the Other into a Double," writes Professor Paul Coates. That is, those "Others," those strangers, may, as our reading progresses, become closer and closer to resembling parts of ourselves, of our "Doubles." In this writing seminar, we will want to concentrate our attention on how and why authors involve us in the most unlikely identifications. How does John Irving, in A Prayer for Owen Meany, create a hero for us out a little guy who looks translucent (his blue veins show through his skin), has a strange sounding voice, and is extremely manipulative? Or how does Katherine Dunn in Geek Love have a father, out of "love," produce a family of freaks who we actually are intrigued with and finally can find ways in which we recognize some of Ourselves imbedded? Pretty much all semester we will be reading works that help us to make meaning and connections out of the implications of the three unlikely joined subjects in the title of this class. And we will consistenly be aware of that "space," between the text and ourselves, between the characters and our own identities. We want to consider the ways in which we, in the process of reading and writing, actually create the text and recreate our "selves." The work of the semester is to write and revise exploratory, analytical essays, the subject of which will be determined by each individual student.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 003 – A Nation of Immigrants.

Instructor(s): Merla Wolk (merla@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: http://www-personal.umich.edu/~merla/

Central to the myth of the American Dream is the construct of the immigrant, those "tired" and "poor," welcomed to our shores, expecting to find "streets paved with gold," and "life, liberty, and the pursuit of happiness" limited only by their own energy and desire. Not surprisingly, some of America's most compelling literature is about and by immigrants who write of the promise and disappointment of that dream and of the inevitable conflicts between old world ethics and new. This composition class will make their writings and the essays you compose in response to their ideas its focus. We will read texts by Doctorow, Gish Jen, Oscar Hijuelos, Richard Rodriguez, Brent Staples, Hong Kingston, Dubus III, Fadiman – and other professional writers – and by the writers in this class. Requirements include three 6-8 page essays, weekly writings on the readings, responses to each other's essays, active participation in class discussion, and regular attendance. attendance.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 004.

Instructor(s): Rosemary Ann Kowalski (rkowalsk@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

We write well when we write about subjects that interest us. We also write well when we write about subjects in which we have a fair amount of expertise. With these ideas in mind, this course, to a large extent, will be determined by the students in it. It will, of course, have page limits, deadlines, and grades. But the class readings will be selected by the class and the paper topics will be decided by the writers (with a lot of feedback and advice from me and other members of the class). Come prepared to state your special interest(s), suggest some readings on the topic(s) from which all of us can learn and profit and propose a sequence of essay assignments for yourself and your area(s) of interest. There will be a common textbook and at least one of your reading suggestions will come from that text, but other readings may be suggested as well. Be prepared to do a lot of writing and revising of your work and to have your work reviewed by others in the class.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 005 – Writing for Life: Community Writing.

Instructor(s): Joyce A Meier (meierjzz@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

This upper-level English course asks that students reflect deeply and write critically about the work that they do, mostly in pairs or small groups, at a local non-profit organization. While all students will do some writing for their community partners – for instance, contribute to a grant proposal, newsletter, website, or brochure – the course emphasizes the writing and thinking that the student does about her / his community experience. Class readings / writings / discussion will focus on key issues such as our motives for taking on this work; our respective roles as insider vs. outsider; the listening, interactive, and organizational skills required; and our community partner1s often differing set of goals. In addition to sharing written observations about our community work with others in class, we will also workshop and edit as a group all of the required community assignments (i.e., the brochures, web sites, newsletter articles, etc.). Students will write weekly reflective responses, and a larger, final paper that incorporates some research about the social issues raised at their community site.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 007 – Technical Writing.

Instructor(s): Brenda K Marshall (bkmarsh@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

"Technical" writing is not necessarily "scientific" writing; rather, it refers to the dissemination of knowledge that is the territory of experts or specialists. As you pursue a major, you are developing an area of expertise, becoming a specialist; thus, your work in this class will reflect your own educational and professional interests. The emphasis in technical writing is on recognizing your audience, developing a persuasive and readable voice, and writing with specificity. Discussions and assignments will include letters of application and resumes, grant proposals, informative essays, and a longer research project. We will be reading, discussing, writing (and rewriting), critiquing, and workshopping. You will find this writing-intensive class most valuable if you have a specific project on which you are ready to focus.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 1

ENGLISH 325. Essay Writing: The Art of Exposition.

Section 008 – The Lippy Dissent Seminar.

Instructor(s): Jason Kirk (jckirk@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

If you're serious about your writing without taking yourself too seriously, if you're willing to work at surprising yourself and your readers with the elastic breadth of your pen's possibility, if you like to read, I beg your presence. This course, if properly peppered with unflinching doses of our collective gusto, will shatter our expectations of a writing workshop. Bring a thick skin, an appetite for contrariness, an appreciation of the rules of language the better to break them with, and a b-line commitment to write 35 pages of prose (approximately) non-fiction (approximately), read a lot of essays, and help each other stretch our preconceptions and take risks and waltz out on delicious limbs.

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 009.

Instructor(s):

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 010.

Instructor(s): Norton

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 011, 012.

Instructor(s): Swanson

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

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ENGLISH 325. Essay Writing: The Art of Exposition.

Section 013, 014.

Instructor(s): Lauren Kingsley

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/325/013.nsf

This course will furnish students with the tools, guidance, and freedom to write with increased confidence and strength. In-class writing exercises, as well as more structured assignments and individual attention will enable students to take greater risks on thematic, technical, and personal levels. Topics will be of the students’ own choosing. Readings of established writers in traditional essay, humor, and creative non-fiction will provide a range of models in style and subject from which students may borrow and experiment. Swapping ideas and techniques is encouraged; in-class discussions and workshopping will be safe yet challenging.

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ENGLISH 330(412) / FILMVID 330. Major Directors.

Section 001 – John Ford Made Westerns.

Instructor(s): Gaylyn Studlar

Prerequisites & Distribution: FILMVID 230 or 236. (3). (HU). Laboratory fee ($50) required. May be repeated for credit for a maximum of 9 credits.

Credits: (3).

Lab Fee: Laboratory fee ($50) required.

Course Homepage: No homepage submitted.

See Film and Video Studies 330.001.

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ENGLISH 331(413) / FILMVID 331. Film Genres and Types.

Section 001 – Youth Film.

Instructor(s): Frances K Gateward (gateward@umich.edu)

Prerequisites & Distribution: FILMVID 230 or 236. (3). (HU). Laboratory fee ($50) required. May be repeated for credit for a maximum of 9 credits.

Credits: (3).

Lab Fee: Laboratory fee ($50) required.

Course Homepage: No homepage submitted.

See Film and Video Studies 331.001.

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ENGLISH 340. Reading and Writing Poetry.

Section 001 – Reading and Writing Poetry: A Matter of Questions, Not Answers.

Instructor(s): Thylias Moss (thyliasm@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In order to obtain clues about the significance of experience, we will revel in the process of asking questions about surfaces as well as interiors. As more is revealed, the hope is that the revelations raise more questions. The goal is a chain reaction of inquiry that begins to illuminate fractions, pieces, textures, while maintaining the integrity of shadows.

We will read four volumes of poetry by as many authors, discussing the poets' strategies of poetic inquiry while developing our own. Powers of Ten is an additional text that will support our inquiry through its poetic as well as measured ways of perceiving. There will be weekly writing and reading assignments, and a creative mid-semester directed writing assessment. A final bound portfolio is also required. This requirement may be questioned as long as it is also followed.

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ENGLISH 349(449) / THTREMUS 323. American Theatre and Drama.

Section 001.

Instructor(s): Bert Cardullo (cardullo@umich.edu)

Prerequisites & Distribution: (3). (HU). May not be repeated for credit.

Credits: (3).

Course Homepage: No homepage submitted.

See Theatre and Drama 323.001.

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ENGLISH 351. Literature in English after 1660.

Section 001 – Literatures of Modernity.

Instructor(s): David W Thomas (dwthomas@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In surveying British literary texts from the late 17th century to the present, this course introduces traditional period designations, such as Restoration, Romanticism, and Modernism, and details the major developments in literary genres, especially the rise of the novel. The lectures also provide an account of modernity, an important culture construction that maps directly onto the time-span marked out by this survey. Here "modernity" indicates an empowered vision of individuality's relation to sociality. This vision is by now globally dominant and sometimes tragically contested. How do we strike a balance between self-assertion and community-based identity? Do we lose ourselves in traditions or find ourselves there? How does modern literature take up these issues? Texts in several genres – drama, poetry, the novel, film – with likely authors including Etherege, Defoe, Dickens, Wilde, and Woolf. Two exams; two papers.

This course fulfills the Pre-1830 requirement for English concentrators.

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ENGLISH 367 / MEMS 367. Shakespeare's Principal Plays.

Section 001 – Satisfies the pre-1600 and pre-1830 requirements for English concentrators.

Instructor(s): Linda K Gregerson (gregerso@umich.edu)

Prerequisites & Distribution: (4). (HU). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

We will read a representative group of dramatic works by William Shakespeare, including plays from all four genres to which he contributed: comedy, tragedy, history plays, and romance. These works have become the touchstones of all that we treasure in the western literary canon, and we will pay considerable attention to the features that have made them so, but they did not function primarily as literary artifacts in their own era. We will consider the political and social realms in which the vital and unprecedented popular theater of the Renaissance emerged, as well as the practical components of Renaissance stagecraft. A highlight of the semester will be attendance at two performances by the Royal Shakespeare Company in March and class visits by several of the RSC actors. Plays likely to be on our syllabus are: A Midsummer Night's Dream; Henry IV, Part One; The Merry Wives of Windsor; Twelfth Night; Hamlet; Coriolanus; King Lear; The Winter's Tale. Midterm, final exam, several short writing assignments.

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ENGLISH 370. Studies in Medieval and Renaissance Literature.

Section 001 – History of Early English Poetry [Honors].

Instructor(s): Macklin Smith (macklins@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected for a maximum of 8 credits. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

After a brief survey of English prose from the 14th to the 18th Century, we shall study the following forms from the same period: alliterative verse, rhymed couplets, various stanza forms, sonnets, and blank verse (narratives and plays). The emphasis will be on shifts of style through time, on trying to define and explain these shifts in terms of cultural forces and authorial talents. Poets will include Langland, Chaucer, Sidney, Spenser, Shakespeare, Donne, Milton, Swift, and Pope. Everyone will need to learn to read Middle English, to scan verse, and to gain familiarity with various terms for characterizing poetic style. Everyone will be asked to engage in detailed textual analysis as well as to write on broader issues. A substantial essay reporting original research will be required. Required texts: The Norton Anthology of Literature, Vol. I, and a course pack. This course fulfills the Pre-1830 requirement for English concentrators.

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ENGLISH 370. Studies in Medieval and Renaissance Literature.

Section 002 – Masterworks of the Middle Ages & Renaissance. Satisfies the Pre-1600 and Pre-1830 requirements for English concentrators.

Instructor(s): Peter M Bauland (pbauland@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected for a maximum of 8 credits. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will be an intensive study of some representative masterworks of the Middle Ages and Renaissance in England. While dealing with these texts analytically, we will also explore them in their historical, social, political and cultural contexts. Readings will include a substantial selection from Chaucer's Cantebury Tales [in Middle English; learn to read it and dazzle your friends], Sir Gawain and the Green Knight, some medieval plays, Marlowe's Doctor Faustus, a selection of Renaissance lyric poetry [e.g., Spenser, Shakespeare, Donne, Herbert, Marvell], and a Jacobean play by Jonson or Webster. We may throw in a play by Shakespeare, depending on the class' familiarity with his canon. The class, which meets 4 hours per week, will be part informal lecture [particularly when we deal with the context and background of these works] and part discussion [mostly when we focus on the texts themselves]. Each student will write two essays of approximately five pages each, a one-hour in-class essay at midterm, and a final examination.

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 001 – [Honors].

Instructor(s): Ilana M Blumberg (blumberg@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will focus on the beginnings of the novel and its development as a form through the eighteenth and early nineteenth centuries. Much of our attention will be devoted to the close reading of novels by authors including Behn, Defoe, Richardson, Fielding, Burney, Scott, and Austen. We will be particularly interested in the emergence of the category of "fiction": many early novels represent themselves as true histories, with novelists posing as mere "chroniclers" or "editors" of original documents. What conditions–philosophical and material–contribute to these claims? How does this relationship between fictional and historical literature develop over time and how does it continue to shape our contemporary, twenty-first century understanding of fact and fiction? Readings on these topics will be assigned.

Requirements will include informed participation, regular short papers and assignments, two essays, and a take-home final.

This course satisfies the pre-1830 requirement for English concentrators

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 002 – Comedy and Sentimentality in Eighteenth-Century Literature.

Instructor(s): Simon E Dickie (dickie@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/371/002.nsf

This course will explore the complex interactions of two opposing poles of eighteenth-century literature. In sentimentalism––with its emphasis on strong emotions and sympathy for the sufferings of others––we will explore one of the most prominent innovations in eighteenth-century literature. We will read two well-known sentimental novels, Richardson's Pamela and Goldsmith's Vicar of Wakefield, alongside a set of lesser-known texts––short tales about mistreated young women, and weepy "pre-romantic" poems about beggars, madmen, and dead birds.

But we will also explore a set of eighteenth-century comic texts and the everyday humour that they reflect––a coarse, cruel, and often misogynistic humor that is completely alien to modern readers. We will look at jokebooks and comic folktales, at a popular wife-beating farce and even a puppet show (Punch and Judy). These comic texts shows us, in the most unmistakable way, the sort of things to which literary sentimentalism was reacting. Toward the middle of the course, however, we will consider a set of comic texts that parody or scoff at the rising tide of sentimentalism. In Shamela, we will read Henry Fielding's uproarious travesty of Richardsonian sentimentality, and in Joseph Andrews we will discover his alternative innovation of the comic social novel. In Charlotte Lennox's Female Quixote, we will read the hilarious tale of a young woman who tries to lead her life in accordance with the codes of French romance (a genre by which literary sentimentalism was strongly influenced). Finally, in Smollett's Humphry Clinker, we will enjoy a novel that at once mocks the excesses of sentimental fiction (its epistolary form seems to parody Richardson) and at the same time offers its own more restrained scenes of tender feeling.

The course emphasizes narrative fiction over other literary genres. In part, this choice is determined by time constraints. But it also reflects the fact that the novel was the primary vehicle not only of sentiment, but also of a comic-realistic tradition that predated and continued to offer a skeptical commentary on the innovations of sentimentality.

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 003 – Revolution to Revolution, Literature of 18th Century Britain.

Instructor(s): Mark D Koch (markkoch@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/371/003.nsf

This course will survey the literature of two of the most turbulent and formative centuries in the history of the English-speaking world with a particularly keen eye on political and social change. We will begin by briefly considering key literary, political, philosophical, and religious ideas during the reign of King Charles I and the Interregnum and how they reveal the imminent tension and upheaval in English society. With transgression and rebellion as a common theme in our texts, we will begin by studying John Milton's epic Paradise Lost within the context of the English civil turmoil and read John Dryden's Absalom and Achitophel. Next, we will explore several works about colonialism in the New World, including Aphra Behn's Oroonoko, Daniel Defoe's Robinson Crusoe, the fourth part of Jonathan's Swift's Gulliver's Travels and Alexander Pope's Windsor Forest. After observing the changing culture of literacy in the eighteenth century, we will read John Gay's The Beggar's Opera (a satiric, riotous play), Horace Walpole's gothic The Castle of Otranto, and Oliver Goldsmith's The Vicar of Wakefield (a classic novel of sentiment). There will be a consideration of the link between Sentimental literature and, finally, we will read certain poems by William Blake, William Wordsworth, and other Romantics, as well as Mary Shelley's Frankenstein, or the Modern Prometheus. Course work will consist of three formal papers, short weekly response papers, two exams, as well as conscientious reading, attendance, and class participation.

This course fulfills the pre-1830 requirement for English concentrators.

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ENGLISH 371. Studies in Literature, 1600-1830.

Section 004 – English Literature of the Seventeenth Century.

Instructor(s): Sadia Abbas (abbass@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

How do English writers of the seventeenth century grapple with religious controversy, the challenges and failures of science, the pressure of an intellectual, theological, and social world in ferment? How do different literary genres give shape to these questions? What is the intersection between literary form and religious, political, and philosophical debate? What is the relation between sex and religion for writers of this period? How does the idea of Englishness work its way into concerns about form? We will ask these, and other questions throughout the semester. Readings from Francis Bacon, John Donne, Fulke-Greville, Ben Jonson, Elizabeth Cary, Andrew Marvell, George Herbert, John Milton, Richard Crashaw, Thomas Carew, Margaret Cavendish, and others. Two papers (one long, one short) and a final.

This course fulfills the Pre-1830 requirement for English concentrators.

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ENGLISH 372. Studies in Literature, 1830-Present.

Section 001 – Visions of Decadence.

Instructor(s): David W Thomas (dwthomas@umich.edu)

Prerequisites & Distribution: (4). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

Narrowly understood, decadence names a late 19th-century fashion craze of debauched poets. In addressing that understanding of decadence, this course also expands it to embrace works and issues throughout the last two centuries. The relevant questions for our course are broadly modern, after all, and they challenge us both to know their history and to grasp their ethical stakes. How do we use the term decadence in literary history? How about in everyday life? How are decadence and morality related? Is decadent artistry itself decadent, or does it instead throw light on society's decadence? Are there female decadents, or is the posture an overwhelmingly male one? We begin by laying conceptual groundwork with nonliterary texts by Sigmund Freud and Friedrich Nietzsche. Then we concentrate on literary texts, visual arts, and modern cinema, with authors and directors hailing from England and Europe. Beware: bring a tolerance, even an appetite, for the grotesque!

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ENGLISH 382 / AMCULT 328. Native American Literature.

Section 001 – Satisfies the New Traditions and American Literature requirements for English concentrators.

Instructor(s): Theodore Chamberlin (chambert@umich.edu)

Prerequisites & Distribution: (3). (HU). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will survey contemporary native American literature, taking into account the relationships between oral and written traditions that it represents, and the negotiation between native American languages and English. It will include a discussion of how assumptions about genre affect our response to native American literary texts, and whether postcolonial categories are pertinent to their interpretation. Texts will include traditional forms of native American imaginative expression, as well as works by Scott Momaday, Simon Ortiz, Paula Gunn Allen, Leslie Marmon Silko, Joy Harjo, Thomas King, Tomson Highway, Luci Tapahonso, Sherman Alexie, and others.

Assignments will include short papers, class presentations, and a final essay. There will be no final examination.

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ENGLISH 401 / RELIGION 481. The English Bible: Its Literary Aspects and Influences, I.

Section 001.

Instructor(s): Ralph G Williams (fiesole@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Foreign Lit

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The Bible is a book, a text: it is also a collection of texts of the most astonishing variety and range. Our first task will be to try to understand these works in terms both of form and content and then of the circumstances which occasioned and shaped them. We will also study how the Bible came to have its present form(s), and consider its transmission as text and as cultural influence. Students will be encouraged to study especially the literary influences of the Bible in authors of interest to them. The particular readings will be influenced by class needs: we shall surely include Genesis, Exodus, Job, the Psalms, Proverbs, Ecclesiastes, Isiah, Hosea, Mark, The Acts of the Apostles, Romans, and the Apocalypse.

Writing Requirements: three essays of moderate length, a midterm, and a final. Class attendance and participation essential.

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ENGLISH 406 / LING 406. Modern English Grammar.

Section 001.

Instructor(s): Richard D Cureton (rcureton@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This is an advanced survey of descriptive English grammar. We will look closely at the formal and semantic motivations for basic grammatical categories and processes in English (words, phrases, clauses, and sentences) and we will discuss how these structures contribute to the expressive potential of the system. There will be daily practice in grammatical parsing, weekly quizzes, and a final exam. The course should be attractive to those professionally interested in English education, practical criticism, or further work in linguistic theory – as well as those generally interested in becoming more articulate about the structure of our language. Texts: Randolph Quirk and Sidney Greenbaum, A Student's Grammar of the English Language and John Algeo, Exercises in Contemporary English .

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 407. Topics in Language and Literature.

Section 001 – Workshop on Translation and Other Things You Can Do With Translation. Meets with English 540.001

Instructor(s): Anne Carson

Prerequisites & Distribution: (3). (Excl). May be repeated for credit for a maximum of 6 credits. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is an exploration of methods of making and framing a translation, and then turning the translation into something else: a text, object, installation, or performance. The class is open to graduate students as well as undergraduates and requires a reading knowledge of some language other than English.

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ENGLISH 414. Multimedia Explorations in the Humanities.

Section 001.

Instructor(s): Eric S Rabkin (esrabkin@umich.edu)

Prerequisites & Distribution: Permission of Instructor. (3). (Excl). May be repeated for credit for a maximum of 6 credits.

Credits: (3).

Course Homepage: http://www.umich.edu/~mmx/w03/414w03syl.htm

This course offers students the opportunity to work in groups creating and/or augmenting web-based resources for the study of a humanities topic of their choice. Students may register in groups with the mentorship of any collaborating faculty member or register singly and form partnering and, if needed, mentoring relationships. All students will study in the field of their chosen group, learn modern information technology, and use that technology to produce materials that become part of on-going resources for use by themselves and others. Reading, writing, and production requirements will be adjusted to the backgrounds of each student and the needs of each group. A typical minimum requirement is the equivalent of reading five books in the field of choice (e.g., 18th century satire or The Pre-Raphaelite Brotherhood), mastering at least three substantial programs (e.g., Flash or Photoshop), and producing the multimedia equivalent of 30 pages of revised, researched prose.

Note:Students must add themselves to the waitlist, and then contact the professor for permission into this course.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, Students must add themselves to the waitlist, and then contact Prof. Rabkin for permission into this course.

ENGLISH 416 / HISTORY 487 / WOMENSTD 416. Women in Victorian England.

Section 001 – Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Andrea Patricia Zemgulys (zemgulys@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/416/001.nsf

At the very heart of industrialization and the rise of the middle classes in Victorian England were women: anxiously made into guardians of the spiritual sanctity of the home and into devoted keepers of the family hearth, women were integral to the social and political transformations of nineteenth-century England that enabled its remarkable financial growth. The lives and writings of many Victorian women both challenge and attest to the neat enclosure of women in their homes. Through reading non-fiction prose essays, novels, household manuals, and conduct books, we will consider how Victorian women are imagined in these texts, and how these imaginings intersect with women's social history in the nineteenth- and early-twentieth-centuries. We will pay special attention to the educational, urban, and political reform projects in which women were involved over this period. The reading list will include a course pack and writings by Charlotte Bront, Mrs. Beeton, Christina Rossetti, George Eliot, Mrs. Humphry Ward, Alfred Tennyson, John Ruskin, and Octavia Hill.

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ENGLISH 417. Senior Seminar.

Section 001 – Oppositional Poetics: Romantic through Contemporary. Satisfies the pre-1830 requirement for English concentrators.

Instructor(s): Marjorie Levinson (cecily@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course investigates the relationships between the poetries/poetics of the early nineteenth century in Britain and the long process of disenchantment and secularization begun in the early modern period and persisting today in the form of postmodern critical theory. Texts include the Norton Anthology of English Lit (The Romantic Period), and, From Modernism to Postmodernism (ed. L. Cahoone), an anthology representing the foundational positions and debates that inform contemporary discussions about art, society, value, and meaning.

Requirements: several short essays on assigned topics; several longer essays, possibly linked, on topics of your choosing.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: enrollment restriced to Senior English concentrators

ENGLISH 417. Senior Seminar.

Section 002 – The Poetry of Everyday Life.

Instructor(s): Julie Ellison (jeson@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/417/002.nsf

How does poetry work in the world? In individual lives and careers? In community celebrations and social occasions? In citizens' movements? In classrooms and student life? To ask these questions is to begin to explore how inspiration works and for what ends. Course goals include: working with community partners – kids in the Ann Arbor Schools on a poetry partnership and creating an exhibit and 'youth poetry night'; exploring how professional poets have used everyday speech and the everyday world; discovering how nonprofessional poets have composed poetry in diaries, letters, commonplace books, as well as for publication; investigating poetry as a form of public culture; doing original hands-on research. This project-based class is divided into four units. Each unit will introduce you to new material, new locations, new partners. Unit I: Case Study in Literary History – Poets Champion the "Real Language" of Work and Place. Unit II: Discovering the Michigan Archive-Researching the local poetry archive, making local cultural history accessible, reflecting on poetry and place. Unit III: Mitchell School Project – Working with a 4th grade class to combine the exploration of a local site with the creation and presentation of poetry and art. Unit IV: Public Eloquence-poetry as a "new public art." The class thus links historical and analytical readings with a community practicum. Requirements include attendance and participation, assigned readings, response papers, class presentations, creating a "poetry of everyday life" commonplace book, and a final project with an essay component.

Please note: Our community partnership with fourth graders thrives on the diverse talents of our class. Everyone in the class should be serious about poetry in some formperformance poetry, poetry writing, the literary history of poetry, the politics of poetry. In addition, this class is very welcoming to artists and designers, aspiring K-12 teachers, people with community service experience in schools, people with cars, people who are expert project managers, and people who are good with computers. We need you!

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1, 5: enrollment restriced to Senior English concentrators

ENGLISH 417. Senior Seminar.

Section 005 – Contemporary Native American Women Writers. Satisfies the New Traditions and American Literature requirements for English concentrators

Instructor(s): Betty L Bell (blbell@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

In this course, we will read contemporary writings – novels and poetry – by Native American women. Our discussions will emphasize their influences and contributions to the politics of pan-tribal identity, culture, gender, and nation. The course is conceived as an upper-level introduction to the literature and its thematic emphases. Some of the authors we will read include Leslie Marmon Silko, Louise Erdrich, Joy Harjo, Janice Gould, Linda Hogan. There will be one research paper (15-18 pages) due at the end of the term.

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ENGLISH 417. Senior Seminar.

Section 008 – William Blake: Poet and Artist. Satisfies the Upper Level Writing Requirement for English concentrators

Instructor(s): Nancy S Reinhardt (nsreinha@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

The poet William Blake was trained as an engraver and visual artist and wrote poetry from an early age. Many of his finest engravings illustrate works of other writers, but his most original achievement is the "illumination" of his own verse. Blake carefully designed and printed each sheet of his poetry from individual plates, surrounding his words, lines, and stanzas with patterns, figures, blazing colors, and full-page illustrations. The visual imagery interacts with the text, challenging the reader with multiple possibilities for interpretation. This course will question the limits of verbal/visual synthesis, the relation of Blake to his time, and his influence on modernist poets such as W.B. Yeats. Texts: Blake's Poetry and Designs, Norton Critical Edition; William Blake, The Complete Illuminated Books, ed. David Bindman. Writing Requirements: Three short papers on set topics (4-6 pages each); final seminar paper (10-12 pages).

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1, 5: enrollment restriced to Senior English concentrators

ENGLISH 417. Senior Seminar.

Section 009 – Decolonizing the Pacific: Pacific Literary And Cultural Studies. Meets w/ American Culture 498.004.

Instructor(s): Susan Y Najita (najita@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See American Culture 498.004.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 417. Senior Seminar.

Section 010 – Jewish and Other Differences. Meets with American Culture 498.006.

Instructor(s): Jonathan E Freedman (zoid@umich.edu)

Prerequisites & Distribution: Senior concentrator in English. May not be repeated for credit. (4). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See American Culture 498.006.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 423. The Writing of Fiction.

Section 001.

Instructor(s): Patricia T O'Dowd (tishod@umich.edu)

Prerequisites & Distribution: Open to seniors and graduate students; written permission of the instructor is required. (3). (Excl). May be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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, to come up with forty pages of reasonably polished fiction. Attendance at the 4-5 readings sponsored by the English Department is also required. Students who want to enroll in the workshop should get on the waitlist and bring a manuscript to class the first evening. A list of those admitted will be posted shortly thereafter.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1 and Permission of Instructor. Students wishing to elect this course must add themselves to the waitlist, and then bring a 10-15 page portfolio to the first class meeting.

ENGLISH 425. Advanced Essay Writing.

Section 001, 002, 004.

Instructor(s): John W Rubadeau (jwr@umich.edu)

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course is a continuation of English 325 and will focus on (1) improving your vocabulary, (2) strengthening your grammatical, mechanical, semantical, and syntactical skills, and (3) helping you find your voice. I insist that you make the private public (ideally, to illustrate a universal truth or a general principle) in order that you establish your authority to comment on the topic of your essay, that you pen an essay which is not generic, and, most importantly, that you write with a human voice (not dead, wooden prose written by an obscurantist concentrating in philosophy [mea culpa to any philosophy concentrator reading this course description]). Although this course is not difficult, it is perhaps the most labor-intensive course you will take. Quid pro quo – be prepared to work hard for me, and, in the process, you'll learn much about writing. The reading material for this course is your peers' writing. This will be a fun, interesting, profitable, and practical course. Text: The American Heritage Dictionary.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 1

ENGLISH 425. Advanced Essay Writing.

Section 003 – Persuasive Writing.

Instructor(s): Alisse S Theodore (alisse@umich.edu)

Prerequisites & Distribution: Open only to seniors and graduate students. (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~alisse/ENGL425w03/index.html

The signers of the United States Constitution declared our freedom of expression the most important right of United States citizens. Susan B. Anthony and dozens of other women used the only power they had, the power of language, to ensure women their right to vote in the United States. And the persuasive eloquence of Martin Luther King, Jr., changed this nation's consciousness. These were ordinary people doing extraordinary things with language. What about you? Do you aspire to extraordinary things, or do you simply hope to land a great job or appeal a parking ticket? Either way, you'll need to use persuasive writing. This academic term, we will increase our awareness of, respect for, and facility with persuasive writing. But our enthusiasm for and understanding of argumentative writing can grow only if we care about what we're doing (and even have some fun), so usually you will choose your own topics as we play with, analyze, and practice argumentative writing. To guide us in these challenging but rewarding enterprises, we'll use a textbook, Ancient Rhetorics for Contemporary Students. We'll write almost daily, in the form of short exercises, rhetorical analyses, and longer essays; plan on lots of informal writing and three formal essays of 3-6 pages each. For waitlist and attendance policies, see the course website.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 426. Directed Writing.

Instructor(s):

Prerequisites & Distribution: Junior standing and permission of instructor. (1-4). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 6 credits.

Credits: (1-4).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 427 / THTREMUS 427. Advanced Playwriting.

Section 001.

Instructor(s): OyamO (oyamo@umich.edu)

Prerequisites & Distribution: ENGLISH 327. Permission of instructor. (3). (Excl). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Theatre and Drama 427.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of instructor

ENGLISH 428. Senior Writing Tutorial.

Section 001.

Instructor(s): G Keith Taylor

Prerequisites & Distribution: ENGLISH 223, 323, and 423/429. Permission of instructor required. (3). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (3).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1 and 5, Permission of Instructor

ENGLISH 429. The Writing of Poetry.

Section 001.

Instructor(s): Lorna G Goodison

Prerequisites & Distribution: Written permission of instructor is required. (3). (Excl). May be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1 and 5, Permission of Department

ENGLISH 432. The American Novel.

Section 001.

Instructor(s): Michele L Simms-Burton (mlsimms@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course covers a range of novels written by writers born in the United States, whose voices help to comprise a richly textured and complex American literary canon and tradition. We will begin this course by discerning the "birth" of the "American" novel, and how nationalism aids in constructing an American literary tradition. We will interrogate via these texts how these writers define America and what it means to be an American, as well as how conceptions about America and being an American are fluid and at times contradictory when examined and read through the lens of race, class, gender and sexual preference. Likewise, we will investigate elements of these texts that are dialogic and resound loudly from text to text. Ultimately, we will wrestle with developing a working understanding of the uniqueness of American literature within the context of world literature.

Reading List Jazz -Toni Morrison; The Scarlet Letter- Nathaniel Hawthorne; The Awakening- Kate Chopin; The House of Mirth- Edith Wharton; The Sound and the Fury- William Faulkner; Loon Lake- E. L. Doctorow; Devil in a Blue Dress- Walter Mosley; House on Mango Street- Sandra Cisneros; Ceremony- Leslie Marmon Silko; Joy Luck Club- Amy Tan; The Bell Jar- Sylvia Plath; Clifford's Blues- John A. Williams.

This course satisfies the American Literature requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 433. The Modern Novel.

Section 001.

Instructor(s): John A Whittier-Ferguson (johnaw@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course will examine developments in English fiction from the turn of the century to the mid-1940s. We will explore the ways in which the twentieth-century novel,rather than being driven primarily by plot, attempts to trace, in Joyce's words, "the curve of an emotion" or to incorporate, as Lawrence desires, philosophy and fiction in the novel. Virginia Woolf tells us that "human nature changed" in the first decade of the 1900s. Certainly the way novelists constructed human nature altered dramatically. We will discuss issues that repeatedly manifest themselves in these novels: how do men and women in the twentieth century respond to or initiate the radical redefinitions of sex roles that characterize the modern period? How do the wars of the first half of the previous century shape and deform the novels written at that time? How does this body of fiction address (and fail to address) the volatile issues associated with race and class in the first half of the twentieth century? We will also pay close attention to the variety of ways each author positions her / himself in relation to a past: how does the modern stand in relation to history? Readings will include a substantial coursepack and the following texts: Gertrude Stein,Three Lives; James Joyce, A Portrait of the Artist as a Young Man; D. H. Lawrence, Women in Love; Virginia Woolf, To the Lighthouse, Ralph Ellison, The Invisible Man. Course requirements are three essays (two five-page papers and a final, more substantial essay that's seven to nine pages long). There will be a final exam. This course has discussion sections.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 434. The Contemporary Novel.

Section 001.

Instructor(s): Ira Konigsberg (ikonigsb@umich.edu)

Prerequisites & Distribution: (4). (Excl). May not be repeated for credit.

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

This course covers a broad spectrum of contemporary writers and types of fiction, As well as establishing the specific themes and narrative methods of these literary figures and groups of novels, the course also seeks to discover similar concerns, ideas, and techniques in relation to recent social and cultural developments. The course especially focuses on the possibilities and impossibilities of fiction to deal with social and individual trauma in the real worlds of the twentieth and twenty-first centuries. The class will read Bernard Malamud's The Assistant, Thomas Pynchon's The Crying of Lot 49, Margaret Atwood's Surfacing, Tony Morrison's Sula, V. S. Naipaul's A Bend in the River, D.M. Thomas' The White Hotel, Don Delillo's White Noise, Julian Barnes' A History of the World in 10 1/2 Chapters, and Michael Ondaatje's The English Patient.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 441. Contemporary Poetry.

Section 001.

Instructor(s): Laurence A Goldstein (lgoldste@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will examine some of the most significant poems and poetry movements in the period 1945-2002. We shall begin by looking at poems about World War II, and then move on to poems of the so-called Confessional school. Sylvia Plath's book Ariel and Ted Hughes' Birthday Letters will be a special focus, as well as work by the Beat Generation poets. We shall study an assortment of "canonical" as well as multicultural poems from the last two decades. The latter part of the course will feature a volume by Richard Howard, the Hopwood Lecturer for (spring) 2003 and poems about the events of Sept. 11, 2001. One short and one long paper are part of the coursework, as well as a reading journal, a midterm, and a final examination.

This course satisfies the American Literature requirement for English concentrators.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 444 / THTREMUS 322. History of Theatre II.

Section 001.

Instructor(s): Leigh A Woods (lawoods@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Foreign Lit

Credits: (3).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/thtremus/322/001.nsf

See Theatre and Drama 322.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 444 / THTREMUS 322. History of Theatre II.

Section 002.

Instructor(s): E.J. Westlake (jewestla@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Foreign Lit

Credits: (3).

Course Homepage: No homepage submitted.

See Theatre and Drama 322.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

ENGLISH 450. Medieval Drama.

Section 001 – Sex and Religion in Medieval Drama. Satisfies the Pre-1600 and Pre-1830 requirements for English concentrators.

Instructor(s): Theresa L Tinkle (tinkle@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/450/001.nsf

Medieval drama encompasses a wide range of texts, from extremely bawdy secular literature to serious devotional plays. Some texts explore the comedy of human sexual desire, others the grotesque possibilities of the sexualized body. As we read these plays, we will come better to appreciate how literature invents sexuality. Still other texts seek to teach Christian biblical history to the laity, beginning with Creation and ending with the Last Judgment. Although the Christian Bible obviously inspires such literature, the actors speak distinctly unbiblical words, at times uttering blasphemous scatological curses, at other times mocking ecclesiastical rituals. These plays will allow us to explore the connections between serious religious aspiration and carnivalesque laughter. Throughout this course, we will discover that European culture changes significantly between the twelfth century and the sixteenth, leading to fascinating changes in definitions of both sexuality and piety.

NEW TEXT: Winter term students have an exciting additional opportunity for studying medieval drama: Professor Martin Walsh is offering a drama workshop, HUMS 485, meeting Wed. 5-7, or two credits. In this workshop, students will perform some of the plays studied in English 450. The workshop participants will present parts of plays to the English class (and perhaps elsewhere in the community).

Course requirements: active participation in discussions, reading response papers, peer critiques, and two essays.ts for English concentrators.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 465 / MEMS 465. Chaucer: The Canterbury Tales.

Section 001 – Medieval Ways of Reading. Satisfies the pre-1600 and pre-1830 requirements for English concentrators.

Instructor(s): Theresa L Tinkle (tinkle@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2003/winter/english/465/001.nsf

Chaucer's Canterbury Tales begins in a tavern in Southwark, a seedy area of London, where a few dozen people happen to meet as they prepare for a pilgrimage to Canterbury cathedral. The pilgrims agree to enter into a tale-telling contest on the road to Canterbury, and they in fact relate twenty-three stories as they travel. This tale-telling contest allows Chaucer to experiment with diverse personas, and to exploit the potential of stories to express character. The framing fiction allows him also to represent characters' reactions to stories, to declare their own preferences in literary entertainment, and to take exception to other pilgrims' stories. Not surprisingly, there are some frictions among the pilgrims-and some open conflicts. As they proceed, telling tales and responding to tales, the pilgrims reveal diverse perspectives on the value of literature and its role in society. Some pilgrims prefer bawdy fiction; others like elevated philosophical romances. Some see fiction as a tool for making money; others view stories as a way to save souls. They tell tales in a number of genres, including romance, fabliau, saint's life, sermon, moral allegory, and tragedy. In effect, the Canterbury pilgrims become a community of readers engaged in a discussion about literature, and they reveal to us some of the values associated with literature in fourteenth-century England. Canterbury Tales, then, allows us better to understand how one medieval poet imagined literature and its role in the world, and how he imagined an audience responding to his texts. Course requirements: active participation in discussions and oral readings, passage translations, reading response papers, peer critiques, and two essays.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 469. Milton.

Section 001.

Instructor(s): Michael C Schoenfeldt (mcschoen@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course, will be devoted to reading closely the poetry and prose of John Milton, England's greatest epic poet, amid the various intellectual and social current of the seventeenth century. Milton is a writer with whom almost every subsequent generation of English writers has had to deal, for better and worse, and his reputation has fallen and risen as political, social, and aesthetic ideals have changed. Milton's impassioned efforts to address the ills of his day entailed contradictions that are still very much with us: he was apolitical who was willing to endorse authoritarian methods to accomplish liberal goals; he was a devout believer in meritocracy who rarely felt this belief threaten an inherited if incorrigible misogyny; he was the epic narrator of the War in Heaven who felt that military valor had nothing to do with true virtue. Milton also wrote some of the most sublime poetry available in English about the joys of the natural world, about the deeply embodied pleasures of eating and sex, and about human relationships. We will be particularly interested in how Milton's political career reverberates throughout the poetry – the ways, for example, that his experience as a defender of regicide may have influenced his portrait of Satan's rebellion against a resolutely monarchical God. We will also look at how political defeat produced a radically inward reorientation of Milton's ardent political and spiritual aspirations. We will spend the lion's share of our time in an intensive reading of Paradise Lost, but will also read some of the early poetry and prose as well as Samson Agonistes and Paradise Regained. Requirements include attendance and participation, 2 five-page essays, a midterm, and a final exam.

This course satisfies the pre-1830 requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 470. Early American Literature: Key Texts.

Section 001 – American Literature to 1830. Satisfies the American Literature and the pre-1830 requirements for English concentrators.

Instructor(s): Susan Scott Parrish (sparrish@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will offer you a broad introduction to the literature and intellectual history of North America from the first Spanish contacts through the period of the Early Republic. We will read, for example, the descriptions of New World nature and peoples by marvelling Spanish and English explorers and conquerors, the impassioned theological expressions of New England, narratives of captivity, conversion, and enslavement that emerged from the often violent crossing of cultures and races throughout the American colonies and around the Atlantic rim, a seduction novel, and the foundational documents surrounding the Revolution. My interest lies not in defining an American character, form or story, but in asking why certain forms emerged or were invoked and altered in response to unique historical situations. There will be three short papers and an oral presentation.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 471. Nineteenth-Century American Literature: Key Texts.

Section 001 – Thought, Deed, and the Written Word: American Selves.

Instructor(s): Maria V Sanchez (maricarl@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

How do we know what an individual is, or who counts as one? This class will study the development of individualism in the United States through readings of a wide variety of 19th century texts (with a possible quick nod to the 20th century toward the end of the term). We'll begin by looking at different strains of individualism, roughly divided into those that privilege thought (interiority, self-identity, self-knowledge), and those that privilege deed (social status, occupation or profession, action); all the while, we'll consider the role of writing, and the vital importance of the written word, to how Americans come to understand individualism. How do slaves, for example, achieve individuality, when they are defined as 3/5 of a one person for purposes of congressional apportionment? How do the century's changing ideas concerning gender roles, "Americanness," immigration and imperialism, theoretical class fluidity, and so on, affect how we define an individual? Our authors may include: Ralph Waldo Emerson, Zitkala-Sa, Henry David Thoreau, Harriet Wilson, Nathaniel Hawthorne, Maria Amparo Ruiz de Burton, and Elizabeth Stoddard.

This course satisfies the American Literature requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 472. Twentieth-Century American Literature: Key Texts.

Section 001 – Multilingual U.S. Narratives: Asian American, Latino/a, Jewish, and African American Vernacular Cultures. Satisfies the American Literature and New Tradtions requirements for English concentrators.

Instructor(s): Joshua L Miller (joshualm@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

R&E

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

This course will take a comparative approach to the study of multi-ethnic American cultures. As we trace African American, Asian American, Jewish, and Latino/a literature from the 1920s through the present day, we will discuss the stylistics and politics of multilingual American literatures. While the canon of U.S. literature has grown considerably more multicultural in recent years, it has not grown noticeably multilingual. We'll discuss the resistance to non-English and non-"standard" English cultures in the U.S. as well as the rich legacy of vernacular narratives that have argued for a more inclusive conceptualization of American languages and identity.

There are no language prerequisites for this course. The readings will include novels by Zora Neale Hurston, Carlos Bulosan, Henry Roth, Américo Paredes, John Okada, Gloria Anzaldúa, and Jessica Hagedorn, as well as films by Ang Lee and John Sayles.

Requirements for this course include short essays (2-3p.) and one final essay (10-12p.), in addition to informed participation and occasional quizzes. Film screenings will be scheduled outside of class time. For attendance and waitlist policies, see course website.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 473. Topics in American Literature.

Section 001 – The Environmental Imagination in American Literature.

Instructor(s): Susan Scott Parrish (sparrish@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Credits: (3; 2 in IIIb).

Course Homepage: No homepage submitted.

In this course we will look at how the various environments of North America have been imagined from the time of Spanish contact up through the end of the twentieth century. A section will be devoted to each of the following places/concepts: the tropics, the wilderness, the desert, the river, the swamp and the farm. In each section, we will pursue the treatment of place from different historic moments and social perspectives. For the tropics, for example, we will read Columbus, Sir Walter Raleigh, and Andrew Marvell on European anticipations of an earthly paradise as well as the contemporary Caribbean poet, Derek Walcott, on landscape-centered meditations of colonial history and pastoral dreaming. For the swamp, we will read an eighteenth-century Virginia wit's rendition of this landscape as a place in which Enlightenment ideas of improvement and sociability are overwhelmed, nineteenth-century narrative and painterly associations of swamps with escaped slaves, and Jim Jarmusch's recent film comedy about escaped convicts and innocents, Down By Law. There will be one short and one long paper as well as an in-class presentation and an ongoing creative meditation on an environment of your choice.

This course satisfies the American Literature requirement and the pre-1830 requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 478 / CAAS 476. Contemporary Afro-American Literature.

Section 001 – Black Narrative and the Politics of Mobility. Satisfies the American Literature and New Traditions requirements for English concentrators.

Instructor(s): Sandra R Gunning (sgunning@umich.edu)

Prerequisites & Distribution: CAAS 201 recommended. (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

African American writers and intellectuals have always contemplated the impact of (in)voluntary travel on ideas of self and community by using literature to address the following: slaves and slave traders traversing the dreaded Middle Passage; black soldiers serving in wars of territorial and political expansion; black missionaries, merchants and colonists in Africa, the Middle East, and southeast Asia; black "tourists" in Europe, the Caribbean and Canada; black migrants within the US traveling from South to North or westward into "new" territories. Looking broadly at travel narratives, poetry, novels, and autobiography, this course will address the following questions: 1) How do we analyze the different sub-categories of travel writing black writers have appropriated, reformulated or invented? 2) What roles do gender, class and ethnicity play in shaping the way African American authors represent the challenges and possibilities of black mobility? 3) Given the continually evolving question of what constitutes an "American," how have encounters with peoples of other regions/nationalities (especially other peoples of the African Diaspora) influenced the artistic and national vision of African Americans writing on this side of the "black Atlantic?"

Course load: students have to do a take-home midterm, an in-class end-of term of exam, a paper, and a short presentation.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

ENGLISH 479 / CAAS 489. Topics in Afro-American Literature.

Section 001 – The Slave Narrative. Satisfies the American Literature and New Traditions requirements for English concentrators.

Instructor(s): Xiomara A Santamarina (xas@umich.edu)

Prerequisites & Distribution: ENGLISH 274 and CAAS 201 and/or 320 strongly recommended. (3). (Excl). May be repeated for credit for a maximum of 6 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course we will explore the early emergence and development of the autobiographical slave narrative, a central genre in the African American literary tradition. Through close readings of familiar and less familiar narratives – Jea, Equiano, Douglass, Truth and Jacobs, for example – we will consider the ways in which former slaves' representations of slavery both referred to and shaped the northern abolitionist contexts in which they were embedded. What opportunities did the slave's narrative offer previously excluded black voices for representing their lives, as well as their ideas on equality and freedom? Under what constraints did these former slaves labor as they penned their way into the North's public conscience? In conjunction with our close study of these various autobiographies, we will read a wide range of historical and theoretical texts to help us critically interrogate the assumptions about race, history and literature that readers, both antebellum and modern-day, have brought to their interpretations of these texts of survival. Requirements include intensive reading and participation, student-led discussion and presentations, one critical essay, midterm and end of term exams.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 482. Studies in Individual Authors.

Section 001 – Salman Rushdie: A Literary and Cultural Examination.

Instructor(s): Sadia Abbas (abbass@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

The aim of this course is to acquaint students with most of Salman Rushdie's major novels. It is also to examine the politics of the controversy surrounding the death sentence. In our reading of the novels we will be concerned with formal issues as well as thematic ones. In our discussion of the cultural politics of the death sentence, we will examine the way in which Rushdie has become a symbol of the Muslim World's encounter with the West, and the ways in which diaspora and minority politics have played themselves out in this collision. Texts include Rushdie's major novels from Midnight's Children to the The Moor's Last Sigh, Imaginary Homelands and selections from Rushdie's latest collection of essays. Possible readings from William Blake, Angela Carter, and Hanif Kureishi. This will be a difficult and rigorous course, with a large amount of reading. Two essays, one long and one short. Several short writing assignments.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 482. Studies in Individual Authors.

Section 002 – Jane Austen in Context.

Instructor(s): Adela N Pinch (apinch@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

In this course we will do a careful reading of Austen's six major novels along with (a) some of the novels by women of the late eighteenth and early nineteenth century that she herself read; (b) other kinds of writings about women from Austen's era, such as feminist and anti-feminist tracts, conduct books, and letters; (c) selected essays in social and cultural history. We will also view and discuss one or two of the recent film versions of her novels, in order to explore what Jane Austen means in our context as well as her own. Texts will be Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma and Persuasion; Burney, Evelina, Wollstonecraft, Maria and/or A Vindication of the Rights of Woman, Radcliffe, The Romance of the Forest; plus a course pack. The class will combine lively lectures and livelier 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 want to read Frances Burney's Evelina (Oxford UP) over winter break.

This course satisfies the pre-1830 requirement for English concentrators.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 482. Studies in Individual Authors.

Section 003 – Vladimir Nabokov and World Literature II: The American Years. Meets with Russian 479.001.

Instructor(s): Omry Ronen (omronen@umich.edu)

Prerequisites & Distribution: (3). (Excl). May be repeated for credit. May be elected more than once in the same term. Repetition requires permission of the department.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

See Russian 479.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 483. Great Works of Literature.

Section 001 – Primo Levi and the Memory of Auschwitz. [Drop/Add deadline=January 24].

Instructor(s): Ralph G Williams (fiesole@umich.edu)

Prerequisites & Distribution: (1). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Mini/Short course

Credits: (1).

Course Homepage: No homepage submitted.

Primo Levi was a Jew from Torino who survived a year in Auschwitz. His books, which deal recurrently with this experience, arguably constitute one of the major moral and stylistic projects of this century. In this course we will discuss five of them: Survival at Auschwitz, The Reawakening, The Monkey's Wrench, The Periodic Table, and The Drowned and The Saved. We will also read selections from his poems. We will examine in particular his understanding of the role of memory and remembering in constituting social experience, and observe the ways in which he confronts the problem of writing about the unspeakable. Coursework includes one 8 page essay and a final exam.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 483. Great Works of Literature.

Section 002 – The Plays of the Residency of the Royal Shakespeare Company. [Drop/Add deadline=January 24].

Instructor(s): Ralph G Williams (fiesole@umich.edu)

Prerequisites & Distribution: (1). (Excl). May be elected more than once for credit. Repetition requires permission of the department.

Mini/Short course

Credits: (1).

Course Homepage: No homepage submitted.

This one-credit hour course will present an analysis of the plays which the Royal Shakespeare Company will perform this Winter Term (2003) during their residency at the University of Michigan. The course will meet on Monday evenings throughout the term, and consider, in order, the stage adaptation of Salman Rushdie's Midnight's Children, and two plays of Shakespeare, The Merry Wives of Windsor and Coriolanus." The course will involve some guest lecturers, including some members of the Royal Shakespeare Company. It is strongly urged that all take advantage of the opportunity to view the three plays. To that end, those enrolled in the course will be eligible to purchase tickets at reduced cost.

The course is set for Monday evening in order to allow not only students at the University, but people from Ann Arbor and the wider community to attend. Such visitors are welcome, with no registration required. If they identify themselves in advance through an email (fiesole@umich.edu), I will try to see that there are sufficient copies of texts available for reading.

For students enrolled, there will be one essay assigned, and a final examination of one hour.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 484. Issues in Criticism.

Section 001 – Rhetoric & the Achievement of Women's Rights. Satisfies the New Traditions requirement for English concentrators.

Instructor(s): Alisse S Theodore (alisse@umich.edu)

Prerequisites & Distribution: (3). (Excl). May not be repeated for credit.

Credits: (3; 2 in the half-term).

Course Homepage: http://www-personal.umich.edu/~alisse/ENGL484w03/

Most nineteenth-century American women had little or no access to political leaders, higher education, or even the wages they earned; they were not allowed to vote, sign contracts, or own property in the United States. Despite these rigid constraints and tremendous opposition, over a span of eight decades American women generated massive social and political changes. How? By using the only tool available to them: language. Clearly, what we say, how we say it, and to whom it is said can – and does – change the world. In this class, you'll learn to use rhetorical theory as a way to critically examine persuasive appeals while we study texts from the nineteenth-century woman's rights movement. Together, we will consider the power of language to define, reform, and even revolutionize politics and society. Work for the course includes class participation, quizzes, and two exams. For waitlist and attendance policies, visit the course website.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

ENGLISH 496. Honors Colloquium: Completing the Thesis.

Section 001.

Instructor(s): Sara B Blair

Prerequisites & Distribution: ENGLISH 492, admission to the English Honors Program, and permission of instructor. (1). (Excl). May not be repeated for credit.

Upper-Level Writing

Credits: (1).

Course Homepage: No homepage submitted.

No Description Provided. Contact the Department.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1 and 5, Permission of Department

ENGLISH 497. Honors Seminar.

Section 001 – Imitation and Inspiration: The History of the Short Story.

Instructor(s): Peter Ho Davies (phdavies@umich.edu)

Prerequisites & Distribution: Junior or senior standing, and permission of instructor. (3). (Excl). May be repeated for credit for a maximum of 9 credits.

Credits: (3).

Course Homepage: No homepage submitted.

This survey of the history of short fiction will consider work by Gogol, Turgenev, Poe, Kafka, Borges, Chekhov, Maupassant, Babel, Anderson, Mansfield, Colette, Joyce, Hemingway, Mishima and O'Connor. We'll trace the historical development of the short story form with particular attention to the issue of influence: how some of these writers influenced each other, and how they might continue to influence writers today. Students will write regular brief exercises imitating the style/technique of the writers discussed as well as 2-3 essays or stories responding to/inspired by the works considered.

Required Text: Course pack

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1 and 5, Permission of Department

ENGLISH 498. Directed Teaching.

Instructor(s):

Prerequisites & Distribution: Permission of the instructor. (3). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 9 credits.

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

Participation in the teaching of a regularly offered course. Involves readings in educational theory, written work relating to teaching activities, and regular contact with the instructor. (This is an English Department independent study number and is not to be confused with School of Education teaching courses).

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

ENGLISH 499. Directed Study.

Instructor(s):

Prerequisites & Distribution: Junior standing; and permission of instructor. Not open to graduate students. (1-4). (Excl). (INDEPENDENT). May be repeated for credit for a maximum of 6 credits.

Credits: (1-4).

Course Homepage: No homepage submitted.

Registration only by arrangement with the instructor.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Department

Graduate Course Listings for ENGLISH.


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