Note: You must establish a session for Winter Academic Term 2004 on wolverineaccess.umich.edu in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function. Courses in EnglishThis page was created at 7:56 PM on Wed, Jan 21, 2004. Winter Academic Term, 2004 (January 6 - April 30)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. ENGLISH 140. First-Year Literary Seminar.Section 001 — Narratives of Liberation. Meets with CAAS 104.001.Instructor(s): Arlene Rosemary Keizer (arkeizer@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. The theme of human liberation has appeared in literary works from around the world and across centuries. This course will examine a variety of narratives that foreground the attainment of physical, spiritual, and political freedom for individuals and groups. Beginning with the Book of Exodus and traveling through African American slave narratives, British proto-feminist novels, Latin American testimonios, and contemporary films, we will examine how a wide range of writers and filmmakers have conceptualized the goal and the process of liberation in their works. Requirements for the course will include two papers/projects and a final exam.
ENGLISH 140. First-Year Literary Seminar.Section 002 — Civic Literacy and Reading Lives.Instructor(s): Joyce A Meier (meierjzz@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. How did we learn to read? What enhanced or inhibited that learning? How is our interpretation now shaped by our identity and background? We will address these questions self-reflectively by tutoring area school children,and writing about our own reading and community experiences. Assignments will incorporate related research (i.e., on bilingual education) and "literacy narratives" (in which writers such as Frederick Douglass, Mary Antin, and Richard Rodriguez describe their first reading/writing experiences). Students will write a number of short reflective essays, and a longer essay incorporating research. Rough drafting and peer review are integral to this course.
ENGLISH 140. First-Year Literary Seminar.Section 003 — Late 19th-Century African American Fiction. Meets with CAAS 104.003.Instructor(s): Xiomara A Santamarina (xas@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. The last decades of the 19th century (the 1880s and 1890s) is known in African American history as "the nadir" (lowpoint), because it witnessed the nation's post-Civil War retreat from black equality and the escalation of violence against African Americans. In this course we will study how black writers addressed racial inequality and violence in their short stories and novels, and how they viewed the role of literature in national debates over the possibilities of African American citizenship. Authors include Charles Chesnutt, Anna Julia Cooper, Pauline Hopkins, Paul Laurence Dunbar and Sutton Griggs. In addition to class participation, class assignments will include short responses, peer review of drafts and paper revisions.
ENGLISH 140. First-Year Literary Seminar.Section 004 — Euripedes and Beckett: Experiments in Drama and Depression.Instructor(s): Anne Carson (carsona@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. In this course we will study a number of the plays of the ancient Greek tragedian Euripides (in English translation) and also a number of the plays, TV scripts, theatrical projects and experimental productions of the 20th-century Irish writer Samuel Beckett. Euripides and Beckett were artists who attempted violent innovations in dramatic form; each has been regarded as either a genius or a really bad playwright or both. Their plays are hard to read — depressing, arguably hopeless — but also often hilarious and at times uplifting. We will explore the intersection of tragedy and comedy and study how these two dramatists use theatrical invention to negotiate despair.
ENGLISH 217. Literature Seminar.Section 001 — The Presence of the Gay Male Past.Instructor(s): David M Halperin (halperin@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. This course reviews recent gay male historical fiction. That is, it surveys contemporary literature that treats gay male historical figures, that portrays important events in gay male history, or that describes what gay male life was like in the past. A striking feature of recent literature on gay male themes over the last fifteen years has been its focus on the historical past: much of the best work seems to be preoccupied with situating gay male life in historical perspective or with rewriting history so as to bring out in it (or restore to it) a gay male presence. What explains this turn to history in recent gay male writing? How does this literature reinterpret the past? How does it change our sense of history, both official history and minority history? At the same time as it attempts to alter our notions of where we come from, this literature also redefines who we are. Why do so many writers look to history in order to reinterpret gay male life in the present? What new images of contemporary society does this historical fiction produce? What are the political implications for the current gay movement of different versions of the past? Who wants this history, whom does it serve, what purposes does it advance? In addition to the assigned reading, the seminar will include a film series on Monday evenings. Readings: Tony Kushner,Angels in America; Alan Hollinghurst, The Swmming-Pool Library; Jamie O'Neill, At Swim, Two Boys; Mark Merlis, American Studies; Annamarie Jagose, Slow Water; Marguerite Yourcenar, Memoirs of Hadrian; Neil Bartlett, Mr Clive and Mr Page; Christopher Marlowe, Edward II. Workload: one oral report and three essays.
ENGLISH 223. Creative Writing.Section 001 — Paying Attention.Instructor(s): Elizabeth Kostova (ekostova@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Paying attention to our surroundings--places, people, conversations--and to our memories is one of the most important skills that informs creative writing. In this course, you'll work on honing that skill and applying it to your own short stories and poems. We'll write extensively in those two genres, in and out of class, and will do writing exercises that build up to polished pieces of work. We'll also read a variety of thought-provoking works in each genre. Although our study will be a structured and disciplined one, your own creativity is the most important component of the work we'll do together. No one style or kind of voice will be favored over any other in this course; I'm interested in helping you explore your own inclinations. 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.
ENGLISH 223. Creative Writing.Section 002 — Finding your Voice in Poetry & Fiction.Instructor(s): Travis HollandPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Stories matter. Poems matter. They help us understand ourselves as well as others; they tell us who we are, even when they are telling us about people and places that we may never see. They are, like the worlds they seek to create, both beautifully simple and powerfully, dauntingly complex, just as life is both simple and complex. It is their simplicity, their seeming artlessness, which inspires us to try making them ourselves. We read a compelling story or poem, and we tell ourselves, "I want to do that. I can do that." But how? Where do we begin? We begin by going back to the stories and poems that move us, that inspire us. Writing a good short story or poem is inextricably tied to understanding how short stories and poems work. Writers, in my experience, are generally readers first. And the best way to become a better writer, outside of simply sitting down every day and writing, is by reading — for our purposes, short stories and poems. By closely, critically reading these texts, we begin to see how they work, and perhaps begin to understand why they have such influence over us. And as we become better acquainted with the elements that make short stories and poems, we can begin to slowly incorporate these same elements — be it character or tone or plot — into our own short stories and poems. And then we can make our own worlds. 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.
ENGLISH 223. Creative Writing.Section 003 — The Self Made Whole: Intro to the Writing of Poetry & Short Fiction. CSP departmental permission required.Instructor(s): Geoff Bankowski (bankwski@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course is an introductory workshop in which students will study and practice the craft of writing poetry and short stories. And while each person's expression has a value all its own, for it to become poetry it must be crafted. For this reason there will be extensive calls for revision and re-writing. The course will include the reading and discussion of poetry and short stories to expand our understanding of what successful literature does, and we will also look into the relevant world of archetypes and mythology. This will be a serious, but potentially satisfying course and is recommended for students who are willing to dedicate themselves to the challenging task of discovering and artfully expressing their emotional truths.
ENGLISH 223. Creative Writing.Section 004 — The Self Made Whole: Intro to the Writing of Poetry & Short Fiction.Instructor(s): Geoff Bankowski (bankwski@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course is an introductory workshop in which students will study and practice the craft of writing poetry and short stories. And while each person's expression has a value all its own, for it to become poetry it must be crafted. For this reason there will be extensive calls for revision and re-writing. The course will include the reading and discussion of poetry and short stories to expand our understanding of what successful literature does, and we will also look into the relevant world of archetypes and mythology. This will be a serious, but potentially satisfying course and is recommended for students who are willing to dedicate themselves to the challenging task of discovering and artfully expressing their emotional truths. 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.
ENGLISH 223. Creative Writing.Section 005 — Open if enrollments warrantInstructor(s):Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 006 — Engaging the Writer Within.Instructor(s): Jessamon WiesePrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. In this course, we will develop the creative writer lurking inside. In this pursuit, we will read anthologized poets and fiction writers such as, Lucille Clifton, Robert Hass, Sharon Olds, Anne Sexton, James Baldwin, Mary Gaitskill, and Sherwood Anderson and an abundance of lesser known artists. You will be required to write and revise 8-10 poems and 15-18 pages of prose. A writing portfolio will be due at midterm and at finals to give you practice compiling a body of work. This will be an intensive exploration of poetics and prose and is not for the faint of heart. It will best serve students serious about investigating and advancing their craft. 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.
ENGLISH 223. Creative Writing.Section 007 — Form Is Meaning.Instructor(s): Daniel RivasPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. Think of the lodgepole pine: straight and tall, a sparsely-boughed arrow pointing at the sky. Its leaves are not leaves but needles. Compare the oak: solid, branched wide and full, thick with peninsular leaves. The old oaks are as tall as they are wide. Trees have form, though the forms vary. They are similar according to broad categories that define trees, but each type is also unique and best suited for particular climates and uses. In this class we will examine poetic forms and fictional constructions to discern how the forms writers choose are integral to the story or poem and create meaning in the work. We will cover a wide range of forms, from the traditional to the experimental, and each of you will be asked to write using these. 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.
ENGLISH 223. Creative Writing.Section 008.Instructor(s): Megan NewellPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 009.Instructor(s): Marianna GreenPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 010 — Into the World's Tumult, Into the Chaos of Every Day.Instructor(s): Michelle Turner (mmturner@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. In this course, students will be encouraged to enter the world's tumult while remembering the importance of their own emotional landscapes. 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 voice, character, plot, and rhythm. Students will read and discuss the works of established authors, complete informal writing exercises, and maintain a writing journal. Above all, this course will be structured around the workshop of students' own poems and short stories. Requirements include — but are not limited to — a mid-term portfolio of five fully revised poems and a final portfolio of one fully revised story (10-20 pages). p>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.
ENGLISH 223. Creative Writing.Section 011.Instructor(s): Alethea Raybeck (araybeck@umich.edu)Prerequisites & Distribution: (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 successes 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 annoyingly ambidextrous authors who 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, over the course of the term, students will submit two revised portfolios, one of fiction and another of poetry. Grades will be based on attendance, thoughtful participation in class workshop/discussion, and the effort and improvement shown in final portfolios. 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.
ENGLISH 223. Creative Writing.Section 012 — Open if enrollments warrantInstructor(s):Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 013 — Arranged Life: Craft Concerns in Poetry and Short Fiction.Instructor(s): Beth ChimeraPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/english/223/013.nsf In this course you will be both a student and a practitioner of narrative and poetic technique. The majority of class-time will be devoted to workshopping student writing, but you will also be asked to analyze the work of published writers and to complete in-class exercises addressing specific problems of craft. In the poetry unit, we will consider the relationship of form to subject and will work toward sharpening aural skills — experimenting with sound effects, lineation, and rhythm." In the short story unit, we will pay close attention to what writer Frank O'Connor identifies as "the three necessary elements in a story — exposition, development, and drama." Points of particular concern will include: significant details, active verbs, and effective dialogue; conflict and characterization; subtext; and effective story openings and endings. In both genres you will concentrate on finding your own unique material and voice, avoiding cliché, and taking creative risks. At the end of the semester, you will be required to submit a final portfolio of 35 to 50 pages of revised work. 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.
ENGLISH 223. Creative Writing.Section 014.Instructor(s): Sara Houghteling (shoughte@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. A final portfolio of revised finished work of 35-50 manuscript pages will be required. Class texts may include Carole Maso's The Art Lover, Vikram Seth's An Equal Music, Cole Swensen's See, and Jeanette Winterson's Art Objects. 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.
ENGLISH 223. Creative Writing.Section 015.Instructor(s): Marika IsmailPrerequisites & Distribution: (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.
ENGLISH 223. Creative Writing.Section 016 — The craft of fiction and poetry and where they touch.Instructor(s): Matthew HittingerPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course will focus on the craft of fiction and poetry and where they touch: the prose poem and the "short-short." We will devote a portion of the semester to the short story form: characters, dialogue, narrative structures, scene and setting construction, plot development, etc. The poetry portion of the term will cover formal technical matters (rhyme and meter, syllabics, "free" and fractal verse) as well as different "types" of poems (lyric, narrative, ekphrastic, political, dramatic monologue, etc.) The class will discuss each other's work in a supportive yet rigorous workshop setting, as well as look to the work of published authors as models of inspiration and sources to imitate. 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.
ENGLISH 223. Creative Writing.Section 017 — Seeing.Instructor(s): Carrie Strand (csstrand@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course is a hands-on exploration of the craft of writing. We will spend the first half of the semester on poetry and the second half on creative prose, where the latter term encompasses mostly fiction, but also a bit of creative nonfiction. I hope to equip you, over the course of the semester, with effective tools for writing. This means that we will approach the craft from a variety of angles: numerous in-class writing exercises, study and discussion of published works, discussions on the technical aspects of writing (what makes a good rhyme? why do poems have line breaks? how do you organize the plot in a short story?) and peer workshops. Everyone in the class will have ample opportunity to share writing, and in fact, this constitutes a major requirement of the class. We will learn from everything: each other, great published authors, experiments designed to push us past the boundaries of imagination, and even a few field trips. Above all, this class should serve as a personal exploration of your imagination — this means that no matter your (perceived) talent as a writer, you will have much to learn and even more to contribute to the subject at hand. 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.
ENGLISH 223. Creative Writing.Section 018.Instructor(s): Phil Crymble (pcrymble@umich.edu)Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: http://www-personal.umich.edu/~pcrymble/syllabus.html See website. 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.
ENGLISH 223. Creative Writing.Section 019 — Real Toads, Imaginary Gardens: Writing as Field Trip.Instructor(s): Donovan HohnPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/english/223/019.nsf When he was no older than a Michigan undergrad, the Russian writer Isaac Babel became a war correspondent, taking detailed notes and fashioning them into horrifically beautiful short stories. Other writers become correspondents of the imagination, investigating the world without leaving their bedrooms. Most seek out material whereever they can find it — in libraries and museums, wetlands and waste lands, memories and dreams — and so will we. Unlike other sections of 223, this one will not be conducted in two generic acts. Instead, we will study short fiction and poetry simultaneously, organizing our efforts around the various sources and forms from which good writing in either genre can be made. In the process you will become students as well as practitioners of literary craft, carefully reading and shamelessly imitating a diverse selection of stories and poems. By the end of the semester you will have scavenged, composed, and revised between 35- and 50 pages of original work. 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.
ENGLISH 223. Creative Writing.Section 020 — Love, Murder, God & Mama: Oh, the Tales We Can Tell.Instructor(s): Rachel RichardsonPrerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 021 — Open if enrollments warrantInstructor(s):Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 223. Creative Writing.Section 022 — Open if enrollments warrantInstructor(s):Prerequisites & Distribution: (3). (CE). May not be repeated for credit. Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 225. Argumentative Writing.Section 001.Instructor(s): Valerie LakenPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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.
ENGLISH 225. Argumentative Writing.Section 002 — Advocacy and the Ethics of Argumentation.Instructor(s): Angela BallaPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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 class, 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 those who disagree with you. Throughout the course, we will experiment with sophisticated uses of evidence, logic, and style as we consider how writers across a range of disciplines (including philosophy, law, politics, journalism, business, and medicine) argue for their visions of justice. Drawing on 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 your 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.
ENGLISH 225. Argumentative Writing.Section 003, 004 — CSP.Instructor(s): Charles TaylorPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. Having polished the basic skills required for college-level writing in your earlier composition course(s), you will find in Argumentative Writing a higher level of expectation. This course will require you to create formal essays that exhibit a more advanced standard of logical organization. We will learn the various forms (or "classes") of argument, and how to avoid corrupting your theses with logical fallacies. I will ask that you support the assertions in your essays with well-researched data (documented using the appropriate citation format), and that you submit work that presents an overall "positive image." (Positive image refers to papers calculated to persuade your audience in the most effective manner possible, with both impressive physical appearance and sophisticated arguments.) The "standard essay form" will still comprise the basic argumentative framework upon which to build your papers. We will, however, explore ways to expand your understanding of that basic format.
ENGLISH 225. Argumentative Writing.Section 005.Instructor(s): Alethea Raybeck (araybeck@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. Ever feel like all you do is write the same paper over and over again? In this class, we will investigate how to make an argument that is not only effective, but also interesting and individual. Although the principal focus of this course is on writing (and students should expect to do significant writing and revision), arguing well also means reading well. With this idea in mind, we will read and discuss the arguments of published writers, ferreting out their weaknesses and stealing their best tricks of technique. In analyzing student writing, we will rely heavily on the workshop model. I believe strongly that workshop provides one of the most productive environments for learning about writing. In order for workshop to succeed you must come to class prepared and willing to talk, and talk a lot. Active participation is crucial as we will do our concerted best never to be bored or boring. Learning how to provide strong analytic feedback on each other's work will help you with your own writing and will further supplement your critical thinking skills. You will also be encouraged to be creative and original in your approach both to your subject matter and your writing process. 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.
ENGLISH 225. Argumentative Writing.Section 006 — Basic Forms in Argumentation.Instructor(s): Hilary Thompson (hthomps@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. Although our course will survey major types of argumentative writing, including essays that present definitions, make evaluations, explain causes and effects, propose solutions, or put forward ethical claims, I'd like us to consider it a class focused more on persuasive writing than strictly argumentative writing. In addition to considering the basic importance of argument, organization, evidence, audience, and voice, we will discuss logical fallacies and some classic figures of speech and writing (or tropes and schemes). We will also discuss proper use and documentation of sources and take time to refresh our understanding of grammar and style. Four essays, a revision, and several response papers will be required. In class we will concentrate on critically interpreting readings, brainstorming for future essays, and reviewing classmates' rough drafts. Freewrites and the occasional quiz are not out of the question. 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.
ENGLISH 225. Argumentative Writing.Section 007, 025 — Leadership Without Easy Answers.Instructor(s): Gene Laskowski (point@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. The course is designed for students seeking to refine their leadership abilities with the skill of critical thinking. These sections of English 225 define leadership as the ability to walk into a new situation, determine what the important issues are, and listen to and evaluate differing responses to those issues. Three central assumptions follow: (1)An argument entails differing points of view around a question about which reasonable adults might differ. (2)Convincing arguments require evidence, and gathering evidence requires library research. (3)Arguments improve with feedback. Every student essay will receive peer review. NOTE: This is NOT a course in simply and persuasively developing opinions that you already have. The course entails identifying questions to which you do not already know the answer and debating differing points of view in response to those questions. 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.
ENGLISH 225. Argumentative Writing.Section 008.Instructor(s): Angela BallaPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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 class, 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 those who disagree with you. Throughout the course, we will experiment with sophisticated uses of evidence, logic, and style as we consider how writers across a range of disciplines (including philosophy, law, politics, journalism, business, and medicine) argue for their visions of justice. Drawing on 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 your 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.
ENGLISH 225. Argumentative Writing.Section 009.Instructor(s): Janice LeachPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/english/225/009.nsf 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.
ENGLISH 225. Argumentative Writing.Section 010.Instructor(s): Angela BallaPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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 class, 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 those who disagree with you. Throughout the course, we will experiment with sophisticated uses of evidence, logic, and style as we consider how writers across a range of disciplines (including philosophy, law, politics, journalism, business, and medicine) argue for their visions of justice. Drawing on 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 your 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.
ENGLISH 225. Argumentative Writing.Section 011.Instructor(s): Christine ModeyPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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.
ENGLISH 225. Argumentative Writing.Section 012 — Seeing and Believing.Instructor(s): Ian Fulcher (ifulcher@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (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 have been used in every aspect of 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 contentions 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/or 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.
ENGLISH 225. Argumentative Writing.Section 013 — The Craft of Persuasive Argument.Instructor(s): Maureen McDonnellPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. 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.
ENGLISH 225. Argumentative Writing.Section 014 — Basic Forms in Argumentation.Instructor(s): Hilary Thompson (hthomps@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. Although our course will survey major types of argumentative writing, including essays that present definitions, make evaluations, explain causes and effects, propose solutions, or put forward ethical claims, I'd like us to consider it a class focused more on persuasive writing than strictly argumentative writing. In addition to considering the basic importance of argument, organization, evidence, audience, and voice, we will discuss logical fallacies and some classic figures of speech and writing (or tropes and schemes). We will also discuss proper use and documentation of sources and take time to refresh our understanding of grammar and style. Four essays, a revision, and several response papers will be required. In class we will concentrate on critically interpreting readings, brainstorming for future essays, and reviewing classmates' rough drafts. Freewrites and the occasional quiz are not out of the question. 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.
ENGLISH 225. Argumentative Writing.Section 015 — Seeing and Believing.Instructor(s): Ian Fulcher (ifulcher@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (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 have been used in every aspect of 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 contentions 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/or 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.
ENGLISH 225. Argumentative Writing.Section 016 — Writing in the Community. Service Learning SectionInstructor(s): Jean BorgerPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. This is a "service learning" section of English 225: Argumentative Writing. Students in the course will do volunteer work in pairs at a number of designated community sites as part of their class work. All students will be asked to do some real-world writing related to their work in the community, either contributing to a needed project at their site or writing on a related topic for a local publication. In addition, they will keep a weekly journal of site reflections and write formal essays designed for both academic and public audiences. A culminating research/argumentative essay will provide students with the opportunity to reflect on their work over the course of the semester and to place it in a larger context. Potential volunteer sites include the American Friends Service Committee, HIV/AIDS Resource Center, Natural Area Preservation Division of the Ann Arbor Parks System, SOS Community Services, and Motor Meals of Ann Arbor. 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.
ENGLISH 225. Argumentative Writing.Section 017 — Sentences, Ideas, and Logic.Instructor(s): Aric Knuth (aknuth@umich.edu)Prerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. This course in essay writing will use the workshop model of teaching writing to help you become a better reader and writer of nonfiction prose. Though the title of the course is Argumentative Writing, we'll take up the idea that all good writing is in fact argumentative insofar as it is persuasive, and that the powerful writer has a unique vision and set of beliefs that he or she wants to help readers see similarly. Essentially, I care about three things when it comes to teaching and thinking about writing: sentences, ideas, and tools for logical development. This means that, in class discussions, our conversations may be alternately provocative and tedious, depending on your particular fields of interest: we may spend half an hour talking about the difference between the words however and but, and we'll be just as likely to spend half an hour talking about the difference between killing babies because they're disabled or because they're non-white, female or predisposed to gayness (see the work of contemporary philosopher Peter Singer for more on this). In any case, if you're like me, discussions of conjunctions and conjunctive adverbs and discussions about infanticide can be equally enthralling; regardless, both may lead to important discoveries about what makes writing good. Students will write three essays of 5-7 pages each, two of which will be workshopped by the entire class and later revised. I do not assign topics for these essays, which means that you bear all the responsibility for determining what is interesting and important enough to write about indeed, I think this is the first important lesson all writers need to learn: what is worth my exploration and analysis. We will start class each day with an in-class writing in response to a question posed by a student (any question, really any question that makes us think), after which a student will teach us a handful of new words; at least once during the term you will have to ask the class some important question, and at least once during the term you will have to teach us some vocabulary. In addition to the essays, questions and vocabulary, I expect full and active participation from all students in the workshop as we discuss one another's writing in order to make it sharper, clearer, more fully developed, and more provocative. 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.
ENGLISH 225. Argumentative Writing.Section 018 — Alternative Dispute Resolution Strategies in Argumentation.Instructor(s): Lindsay EllisPrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. Are you interested in the growing field of Alternative Dispute Resolution (ADR)? Now a thriving branch of legal studies, the ADR methods of arbitration, mediation, and negotiation are surprisingly effectively writing strategies. In this class, we will write and workshop three papers — first writing as neutral, evaluative arbitrators of a conflict; second as neutral, exploratory mediators looking for common ground in a conflict; and third as not-neutral but interested negotiators working to resolve a conflict. We will explore the history and tactics of arbitration, mediation, and negotiation to understand how they can help us take argumentation in a direction that is both academically responsible and socially sustainable. We will work to carefully understand several conflicts in the humanities, and — not less importantly — to try to understand and to articulate our own needs and to look for mutually beneficial paths forward out of places of impasse. 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.
ENGLISH 225. Argumentative Writing.Section 019 — Exploring Argument.Instructor(s): Matt NelsonPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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 be an exploration of argumentative writing. Over the course of the semester you will have the opportunity to read, write, and discuss a number of arguments about a broad range of issues. This course is structured in such a way that it is highly dependent on what you produce and contribute. You will be choosing the texts we read and discuss and you will guide the discussions based on what you find to be interesting and compelling. My goal is that we emerge from this course as better writers and readers of 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.
ENGLISH 225. Argumentative Writing.Section 020, 021 — CSP departmental permission required.Instructor(s): Randy TessierPrerequisites & Distribution: Completion of the Introductory Composition requirement. (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.
ENGLISH 225. Argumentative Writing.Section 022 — Approaches to Reading & Writing Arguments.Instructor(s): Jeeyoon LeePrerequisites & Distribution: Completion of the Introductory Composition requirement. (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: http://coursetools.ummu.umich.edu/2004/winter/english/225/022.nsf This writing course introduces you to key approaches to reading and writing short, detailed arguments. We will examine the logic of argument, counterarguments, and fallacious reasoning. The course grapples with current controversies presented from different perspectives, and promotes arguments that seek to persuade others with evidence and opinion (not those that emerge from overt prejudice or emotion). As you learn to identify the main elements of argument, you will be presenting your own arguments--in both oral and written form--and putting into play the rhetorical strategies necessary to persuade. Topics under the purview of this class include terrorism, the environment, hate crimes, and Internet censorship.g
ENGLISH 225. Argumentative Writing. |
