Courses in English (Division 361)


The English Department's Professional Semester is an experimental, integrated, team-taught program, designed for students who are committed to teaching English in the secondary schools or who wish to explore that possibility. This program, along with English 305 to be taken concurrently, will normally constitute the students entire course load for one term and will carry 12 hours of credit for the following requirements in the Teaching Certificate Program (students who have already accumulated some of these credits are welcome to negotiate):

English 325-013. Intermediate Composition. (4 credits).

English 489/Education D440-001. Teaching English. (3 credits). (Plus concurrent practicum, Education 307-040, Observation in the Schools, 2 credits).

English 417-013. Senior Seminar. Studies in American Literature. (3 credits).

The Professional Semester is not taught as a collection of courses, but rather as a coherent program with flexible scheduling arrangements and opportunities for large and small group projects and discussions, guest consultants and lecturers, and opportunities for student planning of many segments or aspects of the program. As a hypothetical example, one might focus on the question of audience, taking up criticism on how literature reaches its audience and including poetry, a Shakespeare play, a modern novel, a film, to explore how the different genres affect an audience. In the same unit students might also examine the communications potential of language in a number of contexts and write brief papers addressed to various audiences. Discussion and illustration of different local secondary schools arranged under 307 on a concentrated basis for a portion of the semester.

The Professional Semester can accommodate up to 25 students and meets MW 11-12, Th 10-12, and MWTh 2-4, with the practicum to be arranged. After discussion, students can arrange to have credit for other numbers if they have had one or more of the courses above and it appears there will not be significant overlap. They may also negotiate to reduce the number of credits (with some adjustments in work load but not in class hours) if they have another required course they must take this same term. Registration requires overrides, available in the English Department Office in 7607 Haven Hall or from the instructors for the program.

Students interested in participating in this program can get more information from previous years' instructors, Alan Howes, 763-2269 (office), 662-0905 (home); or Stephen Dunning, 764-8420 (office), 668-7723 (home, after 10 a.m.). They can also put you in touch with students who have participated in the program and who will be happy to tell you what it was like.


After taking or placing out of Introductory Composition, students may elect English 225 for further practice in the fundamentals of expository and argumentative prose. At a more advanced level, English 325 offers the opportunity for work in a variety of kinds of expository prose.

Several sections of English 223, the beginning course in creative writing, are available each term; the work is multi-generic, in fiction, poetry, and drama. More experienced writers may apply for admission to specialized sections of English 323, English 423, English 427, and English 429. Not all of these advanced courses are offered each term, but there will usually be both a fiction and a poetry section of English 323. Admission to these advanced courses is by permission of the instructor, who will require writing samples.


Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.

125. Introductory Composition. ECB writing assessment. (4). (Introductory Composition).

Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates in LSA. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers conforming to the argumentative conventions of several different disciplines.

Sections 014, 024, 041, and 043: Permission of Comprehensive Studies Program (CSP). These CSP sections are designed for students who want to be certain that they are highly prepared for writing assignments of all kinds and are willing to devote the effort necessary to do so. These sections will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.

167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).

Because this course satisfies the introductory composition requirement, writing is its main work. There will be six formal papers and six shorter informal assignments. Plays to be read and written on include The Merchant of Venice; Henry IV, Part I; Othello; Twelfth Night; King Lear; The Tempest. (Faller)

Primarily for Freshmen and Sophomores

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

223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl). May not be repeated for credit.

All sections of 223 teach the writing of fiction (including personal narrative), drama, poetry. Different sections will emphasize the individual genres to varying degrees. Classwork involves the discussion of the process of writing and the work of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form, and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages is required.

All sections of English 223 will have course descriptions available in 444 Mason Hall starting March 25.

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

This course will explore ways of making the style and logic of your writing more effective as you explain or argue. The questions of connotative language and slanting, understatement, surprise, selection of evidence, tonal and organizational variation, and logical fallacies will be considered - in the context of writing to a specific audience for a specific purpose. Class will probably be run on a discussion workshop basis, with students meeting often in small groups to share drafts of papers or to examine writing examples from periodicals and/or from a textbook of collected essays.

All sections of English 225 will have course descriptions available in 444 Mason Hall after March 25.

Section 011 and 020: Permission of Comprehensive Studies Program (CSP). These CSP sections are designed for students who want to be certain that they develop a thorough understanding of argumentation and logical fallacies and are willing to devote the effort necessary to do so. The section will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.

230. Introduction to Short Story and Novel. (3). (HU).
Section 001.
The purpose of this course is to provide an introduction to the basic techniques of analyzing prose fiction rather than a comprehensive survey of the short story. We will begin with short fiction in an attempt to define questions of narrative, characterization, and theme and then move on to longer works, including four to five novel-length works. Students should be prepared to do substantial amounts of reading for class, and the course requirements comprise three papers plus a final exam. (J. Fischer)

Section 002. This section of English 230 will concentrate on the "short story composite," that is, short story publications collected and arranged by the author himself. We shall examine the proposition that such books have important dimensions beyond the import of the individual stories contained within them: that "the whole is greater than the sum of its parts." At this writing, works to be studied are Ernest Hemingway's In Our Time, James Joyce's Dubliners, J.D. Salinger's Nine Stories, and V.S. Pritchett's The Camberwell Beauty or On the Edge of the Cliff. Depending on our progress through these works, we may also investigate both a novella by one of the authors and a novel by another so as to clarify our understanding of what constitutes the genre of the "short story composite" as distinguished from longer pieces of fiction. There will be two essays written during the term, one of approximately 1,200 words due before midterm and the other of 2,000 words due a week before the end of the term. Students will keep extensive Journals, incorporating both in-class and out-of-class records of ideas. The instructor will regularly distribute study questions, biographical, historical and critical statements to assist students in finding their way into this fiction. This section's enrollment is limited to 25 students, so those who do enroll are expected faithfully to attend class meetings and regularly to participate in discussions and periodic in-class student presentations. (Heydon)

Section 003. Mr. Micawber says that he reads David Copperfield's novels "with delight, with entertainment, with instruction." We will attempt to do the same thing as we read seven great novels including David's autobiography and a volume of short stories. Our aim will be to learn to read fiction critically and intelligently. We will concern ourselves with such things as the novelist's understanding of the world around him, and how he deals with it; the role of the artist in society; selfishness and selflessness; and the meaning of happiness. Our reading list will be made up of eight of the following books: Dostoievski's Crime and Punishment, Solzhenitsyn's One Day in the Life of Ivan Denisovich, Hardy's Tess of the D'Urbervilles, Emily Brontë's Wuthering Heights, Jane Austen's Emma, James Joyce's Dubliners, Ralph Ellison's Invisible Man, Evelyn Waugh's Decline and Fall, and Charles Dickens' David Copperfield. Three papers, daily scribbles, group reports on Decline and Fall, and a final exam. Optional free discussion meetings at my home each Wednesday evening. The course is hard work: serious reading and serious thinking are expected of you, as well as attendance at all classes. (Hornback)

Section 006. The aim of this course will be to enjoy and understand fiction, and to express that enjoyment and understanding in clear and purposeful prose. We'll work with an anthology of short stories and a selection of novels: probably Austen, Pride and Prejudice; Dickens, Great Expectations; Conrad, Lord Jim; Forster, Passage to India; Waugh, Brideshead Revisited; and one or two more recent novels. Short exercises, two or three papers, a midterm and a final. (English)

Section 011. The purpose of this course is to provide an introduction to the basic techniques of analyzing prose fiction rather than a comprehensive survey of the short story. We will begin with short fiction in an attempt to define questions of narrative, characterization, and theme and then move on to longer works, including four to five novel-length works. Students should be prepared to do substantial amounts of reading for class. The course requirements comprise three papers plus a final exam. (J. Fischer)

NOTE. Sections 004, 005, 007, 008, 009, and 010 will have descriptions available at the English Department, 7607 Haven Hall, after March 25.

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001.
English 240 is the prerequisite for concentration in English. It concerns the forms and elements of poetry, and is intended to train students in the enjoyment and interpretation of the art. Theory will be touched on as the occasion arises. Poems will be read from all periods from the Renaissance to our own. The text is the Norton Anthology of Poetry. There will be four or five short papers and a final examination. (Schulze)

Section 002. This course is for anyone who wants to learn to read poetry with understanding and enjoyment. We will read widely in lyric poetry, English and American, from the Renaissance to the present. One of the aims of the course will be to help students to develop the critical skills necessary to read any kind of poetry well, another to encourage some awareness of how poetry written in English has evolved and of how poetic aims and possibilities have varied in different historical periods. We will look at how some basic poetic forms (ballad, sonnet, ode) have been adapted to serve various purposes. While the organization of the course will not be strictly chronological, we will look at a succession of major poets from different periods in some depth, ending with a more intensive study of one modern poet. The work of the course will consist of exercises, several short papers, a midterm, and a final exam. The basic text will be The Norton Anthology of Poetry (3rd edition). (Knott)

Section 003. English 240 will provide an introduction to poetry by concentrating on sound, rhythm, and imagery: the characteristics which distinguish poems from prose. We will study specific poems in order to learn about imagery, voice, tone, diction, figurative language, rhythm and rhyme. As we master the art of analyzing and writing about poems, we will also write our own poems in certain forms, and each student will choose a favorite poem to read to the class. We will use an anthology throughout most of the course, but the term will culminate in the study of one or two recent volumes by contemporary poets. Classes will mostly consist of discussion of assigned poems, with just enough lecture to elucidate the techniques we study. Course requirements will include three 3-5 pp. papers, writing exercises, a midterm, and a final exam. (Thomas)

Section 004. Description available at the English Department, 7607 Haven Hall, after March 25. (Rabkin)

Section 005. Description available at the English Department, 7607 Haven Hall, after March 25. (Thomas)

Section 007. See description for section 003. (Thomas)

Section 008. Poetry puts language at once to its most formal and to its most meaningful uses: if some such maxim is the moral of our course, it seems fitting that our format should embody it. So we move from three weeks on matters of form (how poetic rhythm and sound make language into an artistic medium) to three weeks on matters of content (how poetic language sends overlapping messages, talking twice or thrice or more). Thereafter we hone skills with sample topics in nature and politics: What else might a nature poem be about? How is a political imagination likely to inform brief poems? The course will close with extended looks at a series of representative poems by George Herbert and Robert Frost, poets 300 years apart who not only wrote with the devices we'll have been studying, but also often wrote about them. Students should plan on writing two shorter (2-3 pp.) and two longer (6-8 pp.) papers, and on being taxed along the way with overnight exercises of the nickel-and-dime variety. (Tucker)

Section 009. This course is a reading workshop, in which we will practice the kinds of reading which poetry invites. We will read a range of poems from different periods and consider different aspects of the poet's craft: the uses of meter to give rhythm to speech; rhyme and alliteration; imagery; metaphor and other forms of figurative language. We will also explore ways in which poets create individual voices for individual poems, as well as ways in which they control tone. Finally, we will consider recurrent themes in poetry, and how these themes have been approached by different ages and different poets. Although this course is a prerequisite for the English concentrator, non-concentrators are welcome and appreciated. Classes will be conducted as discussions, with brief lectures to provide background information. Requirements for the course include regular attendance and participation, three or four papers, and regular brief assignments. (Garner)

Section 010. The purpose of this class is to introduce students to poetry, and to the kinds of close reading and analysis which can enhance our appreciation and enjoyment of poetry. We shall read more for depth than for breadth, but will in the course of the term examine many different kinds of poetry, both English and American, representing all major literary periods from the Middle Ages to the present. We shall ask what makes each poem a poem, and what makes it a good poem, by exploring the technical aspects of poetry (e.g., form, meter, tone, and persona) as components of meaning. Three short papers, several exercises, a midterm, and a final will be required, along with attendance and participation in class discussion. Our major text will be the Norton Anthology of English Poetry. (Schoenfeldt)

Section 011. This course will provide an introduction to the close reading, understanding and enjoyment of poetry. It serves as a prerequisite to the English concentration program, but it is open to anyone interested in reading poetry with increased pleasure and understanding. The course will familiarize students with skills useful for the analysis and discussion of poetry, and we will read a wide variety of poems of different kinds and periods. The method used will be class discussion and close reading of poems. There will be numerous (probably daily) short, informal, ungraded (but required) writing assignments, one or more longer papers, group presentations, and an in-class midterm and final examination. Grades will reflect all of these requirements, together with regular attendance at, and active participation in, class. Text: The Norton Anthology of Poetry (full edition). (McSparran)

Section 012. This section of English 240 is organized by subject matter and genre, though most categories of poems will be studied chronologically as well. Students should emerge from the term with a solid awareness of the major poetic kinds and a good understanding of the major periods of English and American literary history. Class sessions will be devoted primarily to discussion, with occasional brief lectures from the instructor and - from time to time student reports and presentations. English 240 is a prerequisite for concentration in the English Department. Students will be expected to write four short papers and a longer essay on the works of a single poet. Other requirements for the course include class reports, a midterm, a final examination, and regular class attendance and participation in discussions. Major text: The Norton Anthology of Poetry, third edition. (Van't Hul)

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

This course is designed especially to introduce students to the world of theatre and drama. No prior experience is required, only an open curiosity about plays, playwrights, theatres, and theatre experiences at different times in Western cultural history. We will read and discuss playwrights preeminent in the theatre's history. The focus of the course will be on theatrical conditions stage size and shape, acting style, costuming and scenic decor, and audience. Visitors from several University departments will give formal lectures on broad background topics. There will be three short papers and a final examination. (Brater)

270. Introduction to American Literature. (3). (HU).
Section 003.
We will study authors and traditions of American literature from the mid-nineteenth century to the present, beginning with Hawthorne, Whitman, and Dickinson. Written work will include journals, short reports, and a longer paper. (Wright)

Section 006. A number of American writers have set themselves the goal of writing and some of living simply. Others have reacted to or passed judgment on their efforts. This interplay will be the organizing concern of the course. We will read Thoreau's Walden, James' The Europeans, some poems of Emily Dickinson and Robert Frost, Hemingway's In Our Time, and Faulkner's The Sound and the Fury. Class time will be devoted to discussion of these books. There will be two hour exams, a final, and a paper, with additional short exercises to focus the reading. (Lenaghan)

NOTE : Sections 001, 002, 004, 005, and 007 will have descriptions available at the English Department, 7607 Haven Hall, after March 25.

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

The course will consider how works of certain selected 20th century (or classic modern) writers reflect the radical changes that have occurred in modern life and consciousness. Emphasis will be placed on the development of various literary forms, styles, and thematic preoccupations that are characteristic of this age. Texts will include works by Eliot, Joyce, Dostoevski, Lawrence, Camus, Conrad, Mann, and others. There will be lectures and, if students are interested, attentive, and lively, there is certain to be good discussion. Two fairly short papers and probably a final. (Aldridge)

Primarily for Juniors and Seniors

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

Everybody knows how to have fun with language jokes, word games, songs and stories. But not everybody knows how we make our language fun. Or serious. Or professional. Or intimate. Language is a system through which we shape and articulate our perceptions, feelings, and beliefs. Some people are good at language because they know how to play the language game. Others are less skillful. What we will explore in our course are these questions: What is the "system" of the English language? How do we use it for various purposes? How do we use it well in all sorts of settings? The class format will be lecture/discussion, and there will be frequent short writing assignments (a page or two), three longer papers, and essay examinations in the middle and at the end. This class fulfills the LSA Junior-Senior writing requirement for non-English concentrators. The ECB modification must be added at CRISP when you register for the class to fulfill the writing requirement. (Van't Hul)

305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).

English 305 surveys the grammar of contemporary English and explores some dimensions of language variety including differences in gender role, geography, social class, and ethnic background. Since the course is a requirement for prospective high school teachers, we discuss some of the ways in which language is treated in the classroom, though we do so in light of other institutions that influence the shape of our English: the media, advertising, and popular culture. Students who are curious about how American English works are especially invited to enroll. A midterm, a final exam, and several quizzes provide the basis for grading, supplemented by "language diaries" and two short field research projects. (Bailey)

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

This course treats the structure and development of varieties of American English. We will explore the origins of our language, how it spread geographically, and how these dialects are related formally to other varieties of English (British, Indian, Irish, West African, etc.) We will look at the language of various types of speakers: young vs. old, male vs. world, Black vs. white. And we will look at a range of functional varieties: the language of advertising, bureaucracy, conversation, oratory, law, religion, and literature. The course will demand some formal work. For instance, early on we will need to learn the basics of phonetic transcription. But much of the course will be spent on more popular and controversial issues: linguistic nationalism, sexism in language, linguistic insecurity, prejudice, the role in language, commercial propaganda, the importance and function of a literary standard, the nature of linguistic creativity, and so forth. There will be a midterm, a final exam, and a paper. Readings will be taken from H.L. Mencken, The American Language; Razen McDavid, "The Dialects of American English"; Walt Wolfran and R.W. Fasold, The Study of Social Dialects in American English; Peter Trudgill and Jean Hannah, International English; William Laboz, Language in the Inner City; Robin Lakoff, Language and Womens' Place; Joseph Williams, Style: Ten Lessons in Clarity and Grace; David Crystal and Derek Kazy, Investigating English Style and Dennis Baron, Grammar and Good Taste. (Cureton)

317. Literature and Culture. (3). (HU). May be repeated for credit with department permission.
Section 001 The Quest for Utopia.
The course will survey attempts to envision the ideal society, as presented in literature and philosophy, from Plato to the present. In addition, some examples of dystopian (or anti-utopian) literature e.g., Dostoevsky's "Legend of the Grand Inquisitor" and Huxley's Brave New World will be studied. Utopian readings will include Plato's Republic, More's Utopia, Campanella's City of the Sun, Bacon's New Atlantis, parts of Gulliver's Travels, Bellamy's Looking Backward, Morris' News from Nowhere, and Wells' A Modern Utopia. The format will combine lecture with as much discussion as class size will allow. Grades will be determined by several essay exams and a term paper of about ten pages. (Beauchamp)

Section 002 Science and Literature. This course is designed for students in the humanities who wonder why anyone studies science, for students in the sciences who wonder why anyone studies literature, and for students who like both and wonder why anyone makes a fuss about it. We will read literary works that engage three great epochs of scientific theory: the Copernican Revolution, 20th-century physics, and Darwinism. Authors will range from Dante to Calvino, John Donne to John Fowles, and Milton to Brecht. The class will emphasize discussion, centered on the following questions: How does the poetic use of language differ from the scientific? How do myth and religion help writers adapt science to a literary perspective? What does literature reveal about the personal and historical context of science? Do the revolutionary discoveries of science support or threaten traditional humanistic values? These questions will help us to understand the possibilities for relating science to literature in our own day by seeing how authors of the past have addressed issues relating to the science of their day. I will work closely with students in developing and revising four short papers. There will also be informal journal assignments and a take-home examination. (Hannay)

Section 003 Literature and Culture of Ireland. This course proposes an introductory study of the literature of Ireland from earliest times to the present. This means that we select for reading from among ancient saga, medieval and modern poetry, modern prose fiction, and modern drama. We shall sample both Gaelic literature (in translation) and Anglo-Irish literature. The course has no prerequisite and does not presume prior acquaintance with the subject nor with Irish history, though students with some knowledge of Ireland and its history should find the course particularly rewarding. The course will be conducted by lecture, with discussion when possible. There will be occasional brief quizzes but no hour exams. Two shorter papers and one longer one will be written, and a final examination. (McNamara)

318. Literary Types. (3). (HU). May be repeated for credit with department permission.
Section 001 Novels of Initiation.
We will read nine novels which focus on different stages as the young person moves through crucial experiences on the path from childhood through adolescence toward adulthood. They involve the impact of love and death, the growing awareness of good and evil, and the movement toward the formation of the adult personality. The study of each book will begin with an introductory lecture followed by the use of the discussion method. The work will probably include three tests and an optional term paper. We will probably read novels such as Brontë's Jane Eyre, Walker's The Color Purple, Faulkner's The Reivers, Lee's To Kill a Mockingbird, and Salinger's The Catcher in the Rye, among others. (Blotner)

319. Literature and Social Change. (3). (HU). May be repeated for credit with department permission.
Literature of Oppressed Minorities: Black, Chicano, Native American Indian, Puerto Rican, Asian American.
This course will concentrate primarily on 20th century literature expressing the unique cultures and life experiences of a number of oppressed racial minorities in the U.S. While there are some features common to all minority groups that suffer discrimination within our larger culture, the diversity of responses through literary forms will also be emphasized. In considering the literature of each minority, we will attempt to include writers who hold different points of view and employ different literary techniques. There is an implicit interdisciplinary thrust to this course, and history, sociology, and political theory will be especially important in uniting with literary criticism as useful analytical tools. Requirements include two papers, two exams, and participation in a group presentation. The reading will probably include many of the following: Frederick Douglass, Narrative of the Life; Jean Toomer, Cane; Richard Wright, Black Boy; Ralph Ellison, Invisible Man; Maya Angelou, I Know Why the Caged Bird Sings; Alice Walker, The Color Purple; Maxine Hong Kingston, Woman Warrior; Gloria Naylor, The Women of Brewster Place; Rudolfo Anaya, Bless Me, Ultima; Jose Antonio Villareal, Pocho; James Welch, Winter in the Blood; Maria Campbell, Half-Breed; John Neihardt, Black Elk Speaks; Lorna Dee Cervantes, Emplumada; Pedro Pietri, Puerto Rican Obituary. There will be both lectures and discussion. (Wald)

320/CAAS 320. Literature in Afro-American Culture. (3). (HU).

See Afroamerican 338 for description.

323 Creative Writing. Junior standing and written permission of instructor. (3). (HU).
Section 001.
This is an Intermediate Fiction Workshop for students who already have some writing experience. You will be expected to write a minimum of 50 pages of fiction, attend class, read and critique others' writing, develop a reading list for yourself, and attend readings by visiting writers. No exams or books, but you will incur some copying costs. Evaluation will take into account your meeting the above expectations. For admission, come to the first class and bring a sample of your fiction. Admission and overrides only during the first week of the Fall Term. (Holinger)

Section 002. This is an intermediate poetry workshop for those who have written a good amount of poetry and who wish to continue the serious study and practice of their craft. It's important that you have read some 20th-century poetry with enjoyment. Although much of our time will be spent discussing poems by workshop participants, we will also analyze the work of selected contemporary poets. There will be weekly exercises on aspects of poetic form, including meter, concrete imagery, narrative and lyric styles, and dramatic monologues. We may take a field trip to gather ideas, and I will assign topics for many of your poems. You will be asked to give a presentation on the work of a contemporary poet (or write a short paper) and to submit a final portfolio of at least 300 lines of poetry. Several books are required, and there will be frequent, graded quizzes on the assigned reading. You will also incur some copying costs. Evaluation will be based upon your contributions to discussions; attendance; completion of weekly exercises; quizzes; the oral presentation; and your portfolio. Those who wish to enroll must leave a manuscript of three to five poems (and a self-addressed, stamped envelope for their return) in my mailbox (7th floor, Haven Hall) before July 1. A final class list will be available in 7607 Haven Hall on August 1. (Fulton)

325. Intermediate Exposition. (4). (HU).

This course give students practice in writing expository prose, usually in a variety of non-fiction forms. Its basic goal is the development of an effective personal style, with attention to tone, nuance, and figurative expression. Assignments, totaling 40 pages of prose, will vary in kind and will allow students to draw upon their experience where possible. A long paper may be assigned. It is assumed that students in this course already understand such basic elements of composition as the sentence and the paragraph.

All sections of English 325 will have course descriptions available in 444 Mason Hall after March 25.

Section 013: Professional Semester. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.

355. Core I (Great English Books). (4). (HU).
Sections 001 and 002.
Descriptions will be available from the English Department, 7607 Haven Hall, after March 25.

Section 003. A course covering major works of English literature from its beginnings in the seventh and eighth centuries to the last great Renaissance poem Paradise Lost in the 1600's. We will consider a range of literary forms and genres, and will explore the following issues: tradition and innovation in poetic form and style, literary conceptions of love, the individual and moral choice, explorations of the stage, developments in poetic and dramatic language, different roles of the author. Authors and works will include Beowulf, Sir Gawain and the Green Knight, Chaucer, Sidney, Spenser, Marlowe, Shakespeare, Jonson, Donne, and Milton. Course requirements: regular attendance and participation, three papers (5-7 pages), midterm and final, short assignments. Prerequisite: English 240. (Garner)

Section 004. This course, the first in the Core sequence required of English concentrators, will examine the great works of English literature from the Middle Ages through Milton. The readings will include Chaucer's Canterbury Tales (selections), Pearl, Sir Gawain and the Green Knight, Spenser's The Faerie Queene (selections), Marlowe's Dr. Faustus, Jonson's The Alchemist, lyrics by Wyatt, Sidney, Spenser, Shakespeare, Donne, and Herbert, and Milton's Paradise Lost. The class will be a mixture of lecture and discussion, with lectures intended to create an environment for discussion through consideration of the historical and political context of the literature. Requirements: three short essays, a midterm, and a final. (Schoenfeldt)

Section 005. This course will consider English literature from the late Middle Ages through Milton. We shall examine the great works of these periods in all genres. Reading will include Chaucer's Canterbury Tales (selections in Middle English), Sir Gawain and the Green Knight, one medieval and two or three Renaissance plays, lyric poetry by Sidney, Spenser, Donne, Milton, and perhaps others, and selections from Milton's epic Paradise Lost. Two or three papers and an hour exam and final. Text: first volume of the Norton Anthology of English Literature, 4th edition. (Creeth)

Section 006. A selection of works from the late Middle Ages through the Renaissance, e.g., Chaucer's Canterbury Tales, Everyman, Sir Gawain and the Green Knight, Spenser's Fairie Queene, Marlowe's Dr. Faustus, poems by John Donne and George Herbert, Jonson's Volpone, Webster's Duchess of Malfi, Milton's Paradise Lost. Mostly discussion, occasional lecturing. Three papers, short written exercises, modest attempts at staging one or two of the plays. A midterm exam; a final exam. (English)

356. Core II (Great English and American Books). (4). (HU).
Section 001.
In this course we will study representative major works and authors from the Restoration to the early 19th century, with illustrations from the other arts (music, architecture, gardening). We will follow the course of neo-classical poetics and criticism from Dryden through Pope to Johnson, and examine the romantic reaction in Wordsworth and Keats. Congreve's Way of the World will represent drama. As this is the period in which the novel gains eminence as a form in English, we will give special attention to fiction: Gulliver's Travels, Rasselas, Joseph Andrews, and Pride and Prejudice. Biography and autobiography rise in this age, too: we shall read Ben Franklin's Autobiography and extracts from Boswell's Life of Johnson. This is not a lecture or correspondence course: you must come to class and be ready to talk about the works. Two papers, a midterm, and a final exam. (Cloyd)

Section 004. "Revolutionary" best describes the years between 1660 and 1850. Great Britain's Glorious Revolution of 1688, the French and American Revolutions at end of the 18th century, the scientific and industrial revolutions each radically affected the ways men and women defined themselves as individuals, in relation to each other and to society. English 356 will sample a broad selection of writers each grappling with the problem of locating a stable self in the midst of social, economic, and political change. Representative authors include Dryden, Swift, Pope, DeFoe, Fielding, Johnson, Sterne, Blake, Wordsworth, Coleridge, Keats, Mary Shelley, Austin, the Brontës, Hawthorne, Melville, and Poe. Classes will be predominately discussion, with enough lecture to supply historical, philosophical, and literary context. Course requirements will be three 5-7 pp. papers and a final exam. (Thomas)

Section 005. English 356 is part of the three course sequence in British and American literature required of but not restricted to English concentrators. A course in selected great works of great writers, it stretches chronologically from the late 17th to the early 19th centuries, and takes up such literary and social topics as Neo-Classicism, Sensibility, and Romanticism. Poetry, prose satire and the novel will all be represented. The texts will be the Norton Anthology of English Literature vol. I, separate editions of the selected poetry of Wordsworth, Blake and Shelley, Fielding's Tom Jones, Austen's Emma and Melville's Moby Dick. There will be two papers, a midterm and a final examination. (Schulze)

Section 006. The course will depend on two basic contrasts: between the classical literature of wit and control in the eighteenth century and the romantic literature of dynamism and discontent in the nineteenth; and between British and American forms of romanticism. Thus, for example, Blake will be considered in relation to Pope on the one hand and to Whitman on the other. We will proceed in five stages. (1) The Age of Reason: Satire and Hate (Pope, Swift, Austen); (2) The Revolt of Energy: Romantic Radicals (Blake, Emerson, Whitman); (3) Natural Supernaturalism: The High Romantics (Wordsworth, Coleridge, Thoreau); (4) The Dark Underside: Romantic Evil (Hawthorne and Melville); (5) The Last Romantics: Toughing it Out (Keats, Dickinson, Brontë). At the beginning of each stage I will offer a lecture and debate. In addition, I hope to organize some optional guest-lectures on the art and music of the periods. Written assignments: three essays of about six pages each; a final examination. (Weisbuch)

357. Core III (Great English and American Books). (4). (HU).
Section 001.
This course will assay a variety of ores extracted from English and American literature of the post-Darwinist period. Works to be read and discussed reflect the larger theme: "The Modern Confrontation with Technology, Entropy, and Isolation." The reading list will include the following probables: Melville's Confidence-Man with Lewis Carroll's Alice in Wonderland; Conrad's Heart of Darkness with James' Turn of the Screw; Hardy's Jude with Orwell's Keep the Aspidistra Flying; Twain's Connecticut Yankee with Hemingway's Farewell to Arms; Forster's Howard's End with Lawrence's Lady Chatterly's Lover; West's Day of the Locust with Fitzgerald's Last Tycoon. To avoid the charge of provinciality we will also look at Mann's Mario and the Magician and Kafka's Penal Colony. The usual round of papers and exams will be required. List subject to change. (Eby)

Section 003. This course provides a survey of the major works of fiction and drama from the mid-nineteenth century through World War II. Although some poetry will be read, the emphasis will be on major British and American novelists from Dickens to Faulkner, as well as the leading twentieth century dramatists. Writers covered include Dickens, Browning, Hardy, Twain, Conrad, Faulkner, Beckett, T.S. Eliot, and Henry James. Every attempt will be made to emphasize the development of narrative techniques, similarities in thematic concerns, and the history of the novel as a genre as the course proceeds. Three papers and a final exam are required. (J. Fischer)

Section 005. This course, the final in the Core sequence required of English concentrators, will treat poetry and fiction representative of major cultural periods in Britain and America from mid-nineteenth century to the present. Our reading list will likely include: for nineteenth-century England and America, Hardy's Tess of the D'Urbervilles and James' Washington Square; for the Irish Renaissance, Yeats' poetry and Joyce's A Portrait of the Artist as a Young Man; for English and American modernism, Lawrence's Women in Love. Forester's A Passage to India, and T.S. Eliot's poetry; for English and American post-modernism, Plath's poetry, Drabble's The Realms of Gold, and Toni Morrison's Song of Solomon. My section will emphasize the improvement of the student's writing, with rough drafts and conferences in preparation for three medium-length papers. There will also be a final exam. Classes will operate primarily as a lecture-discussion, but we will also regularly break up into smaller discussion groups. (Hannay)

Section 006. This course (the last in the English core sequence) will consider major British and American prose and poetry from approximately 1850-1950. We will examine the responses of both cultures to concerns about the relationship between the individual and a rapidly changing environment, the emerging focus on the self, current social and political issues, and experimentations in form. Among others we will read novels, short stories, and poetry by Dickens, George Eliot, Joyce, Yeats, Woolf, Twain, Melville, Dickinson, T.S. Eliot. Students will be evaluated on the basis of classroom discussions, three papers, and a final exam. (Norich)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001.
Description will be available in the English Department, 7607 Haven Hall, after March 25. (Williams)

Section 002. We will read a representative sampling of Shakespeare's best plays. "Representative" means attention to comedy, tragedy, history, and romance the genres in which Shakespeare worked. "Best" means that all the plays are intrinsically good, not merely "important." Here is a tentative syllabus: Romeo and Juliet, A Midsummer Night's Dream, Henry IV, Part One, Twelfth Night, Hamlet, Measure for Measure, King Lear, and The Tempest. I don't have a particular method of approach, and I don't concentrate on special themes or topics. My idea is for us to go through the plays as intensively as possible, and with a view to enjoying them. I wouldn't want to discourage anyone who cares about literature from taking the course. There aren't any prerequisites and you needn't be an English concentrator. But let me say very explicitly that this is conceived as a difficult course. The material is difficult, grading is rigorous, and close attention is required. If you worry a lot about grades, this probably isn't a course for you. Instruction will be by lecture-discussion. The course will likely be large, but I'll still want informal discussion and will count on your collaboration. You can expect spot quotation quizzes on the plays, a great nuisance to some, also two essays in criticism, a midterm, and a final. I will be assisted by at least two qualified course graders, and much of the grading will be their responsibility. Text: An Essential Shakespeare, a MacMillan paperback. (Fraser)

391. Honors Survey: Medieval English Literature. Admission to the English Honors Program. (3). (Excl).

An intensive survey of English literature from Beowulf to Malory's Morte D'Arthur. Most of our readings date from the fourteenth century: these include, in the major genres, Chaucer's Canterbury Tales (selections) and Parliament of Fowls, Piers Plowman, Sir Gawain and the Green Knight, and selected mystery plays from the Corpus Christi cycle. We shall also look at lyrics and ballads, a mystical treatise by Dame Julian of Norwich, and a selection from the first autobiography in English, the Book of Margery Kempe. Students will be required to read most texts in Middle English. Consequently, the syllabus will be ordered not so much chronologically as to facilitate the acquisition of Middle English reading skills. As we read widely in the medieval period, we shall keep coming back to Chaucer, for Chaucer is not only one of the best of poets but in effect the founder of subsequent poetic practice. There will be lectures on historical and linguistic matters, but the course will proceed mainly through discussion. Twenty pages of critical prose will be expected, as well as a final exam and memorization of the first sentence of the Canterbury Tales. (Smith)

392. Honors Survey: Renaissance English Literature. Admission to the English Honors Program. (3). (Excl).

The course aspires to an examination in depth of the foremost literary achievements of the late sixteenth and seventeenth centuries in England. Spenser will be studied first, followed by Marlowe, Shakespeare, Donne, Herbert, Marvell, and Milton. The historical and intellectual background will be kept firmly in view, but the primary emphasis will be on the literature as literature. The standards of the course are very exacting, as befits an Honors course. (Patrides)

413. Studies in Film Genre. (3). (HU).
Section 001 Interior Vision: The Subjective Camera in Narrative Film.
We will make a careful analytical study of representative major films spanning the international cinematic history of movies which tell all or part of their tales from the point of view of an involved participant in the action rather than from the stance of an objective onlooker. Film is especially conducive to this dramatic technique, often called by the shadowy name "Expressionism." We will study a wide variety of examples from The Cabinet of Dr. Caligari to All That Jazz. Exactly which films we will be seeing depends upon availabilities and negotiations still incomplete, but the selection may well include musical films, thrillers, dramatized nightmares, and the usual complement of classics. I will post the schedule long before term's beginning. There will be one film per week, two lecture classes, and mandatory small discussion groups, scheduled at your convenience. English 413 may be repeated if content is different from a previous election. This course is not "An Introduction to the Movies," so previous work in film theory, history, mechanics and aesthetics couldn't hurt. Should film study be new to you, I will be happy to recommend preparatory reading; come see me. The course will emphasize the relationships between what these films say and how they say it, their styles, their content, and their context. An obligatory lab fee covers the cost of seeing films. Some reading (e.g., Giannetti's Understanding Movies and/or some history); three two-page papers; one five-page paper; one ten-page paper; no exams; no "Incompletes." Illiterates will find no place to hide. Anyone who uses "media" with a singular verb flunks. (Bauland)

Section 002 The Horror Film. We shall focus on the horror film as a specific genre of motion picture, discussing a number of films from diverse perspectives. We shall be primarily concerned with the psychological impact of these films on the audience and the way their cinematic techniques contribute to this effect, but we shall also examine both the historical background to certain figures and plots as well as the influence of present society on their portrayal. These films will often be a starting point for an examination of what people fear and how they attempt to handle their fear through superstition, religion, and art. On Tuesday afternoons we shall discuss the psychological, cultural, and social themes of the course, or analyze one of the literary texts; we shall also introduce material relevant to the week's film. The film will be shown on the same day and discussed in detail on Thursday afternoon, when we shall screen certain portions of it for close analysis. Among the films to be seen are The Haunting, Psycho, King Kong, Bride of Frankenstein, The Horror of Dracula, Carrie, The Exorcist, and Alien. Students will be required to read a number of literary texts, write several short papers, and take a final examination. (Konigsberg)

417. Senior Seminar. Senior concentrator in English. (3). (Excl).


English 417 along with the Core courses meets the Junior-Senior writing requirements for English concentrators ONLY. Please add the ECB modification for 417 at CRISP.

Section 001 Politics and the Novel. As a literary creation of the modern epoch, the novel has evolved alongside of the wars, revolutions, economic crises, and social turmoil that have shaped the world around us. We will begin the seminar by examining certain books that have achieved a classic status as "political novels", but we will not confine ourselves to studying works that can be squeezed into such an arbitrary genre. Rather, we will treat outstanding works of fiction in which the consideration of politics (including communism, fascism, feminism, racism, and colonialism) can be useful in illuminating literature and its relation to life. Among our primary concerns will be the fate of the novel when it is subjected to various kinds of political and social pressures, and ways in which writers use fiction to probe the character of the social order as well as movements that rise in rebellion against it. An effort will be made to include texts from a variety of different cultures and societies. The reading will probably include: Ignazio Silone, Bread and Wine; Arthur Koestler, Darkness at Noon; George Orwell, 1984; Doris Lessing, The Grass is Singing; Alexander Solzhenitsyn, The First Circle; Ngugi, Devil on the Cross; Ursula LeGuin, The Dispossed; Leslie Silko, Ceremony; Nadine Gordimer, Burger's Daughter; Christa Wolf, The Quest for Christa T.; Gabriel Garcia-Marquez, Autumn of the Patriarch; V.S. Napial, The Bend in the River. Requirements will be two papers (one short and one major), and an oral presentation. This course is for senior English concentrators only. (Wald)

Section 002 Middle English Literature: Romance, Burlesque, Ballad. The seminar involves the study of the evolution and development of Middle English narrative poetry concentrating on the Middle English romance, leading to the burlesque romance and ending with the ballad. No other background except an interest in Middle English literature is required, and the willingness to join in Middle English reading and translation in class, with the knowledge that class discussions and occasional lectures will be held in Modern English. Our goal will be to discover trends in literary fashions. Writing will consist of two short papers leading to a final longer seminar paper. All of these will be delivered first as oral presentations of progress reports for the final paper. In addition there may be short reports on outside secondary reading. The seminar is the last course in the English concentration sequence and the course which specifically must meet the ECB writing requirement. Readings will include among others: Havelok the Dane, King Horn, Sir Gawain and the Green Knight, The Tournament of Tottenham, The Wedding of Sir Gawain and Dame Ragnell, Sir Thopas. Text: Garbaty, Medieval English Literature. (Garbaty)

Section 003 The Problem of Desire. We will begin by developing a theoretical model of desire in this course, using the theories of Hegel, Kojeve, Girard, and Lacan, and then apply this model to explore the psychology of characters, themes, narrative techniques, and reading strategies in a number of short modernist works including Dostoevsky's Notes from Underground, Ibsen's A Doll's House, the stories of Joyce's Dubliners, Kafka's "In the Penal Colony," and D.H. Lawrence's St. Mawr. Two papers will be required for this course. (Norris)

Section 004 Shakespearean Production as Criticism. The simple premise of the course is that a production is among other things a critical reading of the play. The common course work will be the discussion of some of Shakespeare's plays and such productions as we can get access to (BBC videotapes, films, and presumably some amateur readings of our own as the equivalent of seminar reports). Each student will write a seminar paper on a topic arising from the course work. It may be necessary to change times to special evening sessions to accommodate the readings-reports in the second half of the term. Therefore all students will have to be able to attend these special sessions at the time we will determine at the first meeting. There will probably also be a film fee. (Lenaghan)

Section 005 Native American Narrative. This seminar will study short stories and novels written by North American Indians, as well as autobiographical narratives and, perhaps, a collection or two of traditional tales. It is assumed that students enrolling in this course will be interested in the function of narrative, the politics of literature, and the problems faced by writers who, inevitably, are caught between two antipathetic cultures. Two or three papers will be required, including a research paper of at least 20 pages. Students will also be required to write informal "journal" comments each week, and to give frequent oral reports. (Faller)

Section 006 Jonathan Swift and Samuel Johnson. "When once you have thought of big men and little men, it is very easy to do all the rest." This remark on Gulliver's Travels by Samuel Johnson is neither fair nor representative of Johnson's opinion of Swift's works, which is a complex of admiration, scorn, and imitation. This seminar is designed to help students develop standards by which to judge literary criticism while studying the works of two great 18th-century authors, toward which there have been many shifts in attitude. Assuming that all students have a close knowledge of Swift's Gulliver's Travels, we will begin by studying the criticisms of that work, with emphasis on book four. We will go on to study the works of Swift and Johnson in detail and depth, especially the works which relate to each other, and to criticisms of both. We will learn much of 18th-century life and especially of early newspapers, magazines, and, indeed, 18th-century publishing practice generally. Early in the term each student will choose (or be assigned) a topic (from the period, which need not be limited to Swift or Johnson, but can be tailored to the special interests of the student) for investigation and will be expected to make periodic reports of work-in-progress to the seminar. Sustained active participation in meetings of the seminar is required. Discussion, reports, perhaps two short early papers and a long final paper. (Cloyd)

Section 007 William Blake's Illuminated Books. In this seminar we will study William Blake's Illuminated Books together with some of his other writing and art work. The principal Illuminated Books will be facsimile editions of Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Book of Urizen, and, time permitting, Milton. I will provide copies of Urizen and Milton for course use along with other materials in course pack format. Written work for the seminar will include short reports, scripts, and a longer paper. English 417 should be elected by senior English concentrators only. (Wright)

Section 008 An Introduction to Literary Theory: Or The Problem With Rapunzel's Hair. In an essay titled "Aristotle's Sister: The Poetics of Abandonment," Lawrence Lipking implies that all sorts of things may happen if we examine, say, The Odyssey from Penelope's point of view. Christine Froule wonders what Eve would have to say about Milton's Paradise Lost in an essay whose title is "When Eve Reads Milton: Undoing the Canonical Economy." And in "Prospero's Wife" Stephen Orgel wonders out loud about the implications of the fact that the wife is "a figure conspicuous by her absence" in The Tempest. I have myself wondered out loud in an essay on The Tempest titled "Whatever Happened to Caliban's Mother?" Meanwhile, Arnold Krupat has written "Native American Literature and the Canon," while a trio of African critics, among them Chinweizu, recently published Toward the Decolonization of African Literature and Afro-American Killens contributed a chapter to The Black Aesthetic called "The Black Writer vis-a-vis His Country." What are these critics up to? In any case, why should there be a problem with Rapunzel's hair? We will read several things to think through the issues ranging from The Tempest to Snow White, and Rapunzel, of course; from Cosmicomics to excerpts from The Odyssey to find out what seems to be going on and why. After all, all that was said was, quite simply, "Rapunzel, Rapunzel, let down your hair." Right? Come prepared to read, think, and wonder out loud in individual reports, one five-page paper, and a final fifteen-page project. (Johnson)

Section 013: Professional Semester. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.

423 The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU).
Section 001.
This class will be an advanced workshop in the craft of fiction open to selected undergraduates and taught jointly with a graduate level class for MFA students. Students will be expected to produce approximately 40 pages over the course of the term either as short stories or as portions of a novel. There will be some required reading. For early registration, interested students should submit samples of their work to the Undergraduate Secretary, 7611 Haven Hall by April 15th. Include your name, class year and the course number for which you are applying. A list of admitted students will be posted on April 22nd and overrides will be available in 7611 Haven Hall. For September registration, work can be submitted through September 4th. (Cheuse)

Section 002. This will be a workshop course in the nature and technique of prose fiction. This course assumes previous experience on the students' part, and a commitment to the process of revision. There will be classroom discussion of student work, and an expectation of 10,000 words (approximately) by term's end. This may be a series of short stories, a novella or novel-in-progress. For early registration, submit up to twenty pages of your fiction by April 5th to the office at 7611 Haven Hall. Include your name, class year and the course number for which you are submitting the work. A list of admitted students will be posted on the afternoon of April 19th, and overrides available in 7611 Haven Hall. For September registration, work can be submitted through September 4th. (Delbanco)

427. Playwriting. Permission of instructor. (3). (HU).

The craft of playwriting is taught through lectures on dramatic structure and basic outlining, the reading and analysis of plays, writing exercises, attendance at productions, and the writing of at least two one-act plays for the company of student actors attached to the class. A selection of the plays is performed for the public at the end of the term. Grades are based on attendance, level of participation, papers, and the mastery of basic playwriting craft as demonstrated in plays and criticism. Admission by permission of instructor. Interviews available to students on Friday, September 6, 1985. A sign-up sheet for interview appointments will be posted outside room 2529 Frieze Building September 2 or 3. (Stitt)

429. The Writing of Poetry. Written permission of instructor is required. (3). (HU).

This is an advanced workshop for students who have written a significant amount of poetry and who have a serious commitment to their craft. You must be ready to work independently, with a high level of motivation and intellectual curiosity. You should be prepared to raise questions of interest from your outside reading of poetry, since your concerns will partially determine the course's format. Although our discussion will focus upon the work of workshop participants, we will also consider the work of selected contemporary poets. Occasionally I will assign topics or exercises in various aspects of poetic form. We may take a field trip to gather ideas. Each student will be asked to give a presentation on the work of a contemporary poet (or to write a short paper) and to turn in a final portfolio of at least 400 lines of poetry. There will be several required books, and you will also incur some copying costs. Evaluation will be based upon contributions to discussions, attendance, the oral presentation, and your portfolio. Those who wish to enroll must leave a manuscript of five to ten poems (and a self-addressed, stamped envelope for their return) in my mailbox (7th floor, Haven Hall) before July 1. A final class list will be available in 7607 Haven Hall on August 1. (Fulton)

431. The English Novel from Dickens to Conrad. (3). (HU).

This course is a treatment of the English Victorian novel, paying attention to both the individual novels as works of art and the novels as conveying varying assumptions and concerns that characterize the historical period. The list of novels read will include one novel by each of the following writers: Dickens, Emily Brontë, George Eliot, Trollope, Meredith, and Hardy. In addition, the Victorian age will be slightly extended in time to include others, Conrad, perhaps Bennett and Virginia Woolf, as well as a contemporary treatment of the Victorian ethos, Fowles' The French Lieutenant's Woman. Class method is discussion and the interruptible lecture. Probably two papers, a midterm, and a final examination. (Gindin)

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

Why do American writers express the subtlest philosophical issues through violent and melodramatic actions? Why do they create characters who aren't quite people, plots which interrupt themselves so often that they aren't quite stories, environments that are not the streets and houses we know, and endings that are not resolutions or answers so much as disturbing open questions? We will wrestle with these problems in an attempt to define what is unique about American fiction. At the same time, our primary focus will be on each work in terms of itself. The course will proceed ahistorically, by concerns rather than dates. This is a tentative listing of those concerns and the writers and works we will consider. Frontier as Metaphor: Hawthorne (Stories), Twain (Huckleberry Finn), James (Daisy Miller ), Barth (End of the Road ). Thinking the Self into Being: Chopin (The Awakening), Fitzgerald (The Great Gatsby), Mailer (An American Dream ). Ontological Insecurity, or Anxiety and Power: Melville (Benito Cereno), James (Turn of the Screw), Faulkner (The Sound and the Fury). We will move forward and back in time to identify literary and experiential issues that have seemingly permanent status in American lives. The course will combine lectures and discussions. Two papers and a final examination will be required. (Weisbuch)

434. The Contemporary Novel. (3). (HU).

The course will focus on a reading and discussion of mostly American fiction since 1945. There will be introductory lectures on the evolution of post-modern from the classic modern modes in fiction and on the chief features of the post-modern as exemplified by single novels by such writers as Beckett, Barth, Heller, Hawkes, Bellow, Mailer, Vonnegut, Kosinski, Didion, Pynchon, and DeLillo. Lectures and class discussion. One long or two short papers will be required. (Aldridge)

440. Modern Poetry. (3). (HU).

This course will explore modern poetry (roughly, up through World War Two) first by examining the individual careers of three major and influential poets W.B. Yeats, Ezra Pound, and T.S. Eliot in terms both of their own development and of the creation of a modernist movement. We will then look more quickly at some other important modern poets like Wallace Stevens, William Carlos Williams, H.D., Marianne Moore, Robert Frost, Langston Hughes, or W.H. Auden to gain a broader sense of the modernist enterprise. Important concerns will include the break with the past, the construction of alternate traditions, the role of the poet in society, and new forms and techniques of expression. We will proceed by a mixture of lecture and discussion. There will probably be two papers and a final examination. English 240 would be a helpful background. (Bornstein)

443/Theatre 421. History of Theatre: I. (4). (HU).

This is primarily a course in the art of the theatre rather than a course in drama. A play as realized in the theatre represents the playwright's feelings and ideas given form through an actor in an environment enhanced by scenery, lighting, and costume designers under the creative eye of a director. Thus, the focus is not just on the play itself but also on the audience, the theatre architecture, the conventions of scenery and costuming, and approaches to acting. These aspects of theatre are all examined from the time of the Greeks to 1700 in an attempt to relate the plays to their theatrical environment. After ancient Greece, the class studies the theatres of Rome, the Middle Ages, Renaissance Italy, the Golden Age of Spain, Elizabethan and Restoration England, and 17th century France. The class notes the influence of previous ages and distinct characteristics of the new age. There are three one hour examinations, a final examination, and a research paper. (Bender)

447. Modern Drama. (3). (HU).

Careful reading of representative British and Continental European plays from the beginnings of the modern drama in the late 19th century to the time of World War II (American Drama is the province of English 449; post-WWII drama is covered in English 448). Consideration of plays in their relationships to dramatic movements, theatrical backgrounds, social forces, world events, and trends of thought. Readings will be chosen from among these playwrights: Ibsen, Strindberg, Chekhov, Shaw, Pirandello, Brecht, and several others (e.g., Hauptmann, Büchner, and the dramatists of the Expressionist movement). Required "outside" readings may be chosen from among these or a list of works by other representative playwrights of this period. Lectures and discussions, the quantity of the latter dependent upon class size. Some secondary readings in addition to the basic list of plays and "outside" choices; about 25-30 plays in all. Students will write two papers (the second longer than the first), keep a reading log, and take a final examination. (Bauland)

462. Victorian Literature. (3). (HU).

Description will be available from the English Department, 7607 Haven Hall, after March 25. (Vicinus)

465. Chaucer: The Canterbury Tales. (3). (HU).

Extensive reading of Chaucer's Canterbury Tales is combined with lectures on Chaucer's life, sources and analogues of the tales, courtly love, past Chaucerians and their work, problems of interpretations, and aspects of the manuscript tradition. Everything is read in Middle English and discussed in class. Several short papers and a longer paper for graduate students will be required. The course is an introduction to Chaucer by way of the Tales, but an introduction to Chaucer is an introduction to life, medieval and modern, so that this course is only the beginning of a process of learning. F.N. Robinson's The Works of Chaucer, 2nd ed., is the necessary text. (Garbaty)

470. Early American Literature: Key Texts. (3). (HU).

This course will survey nineteenth century American fiction, non-fiction, and poetry, examining closely the individual texts as well as their relation to cultural and literary traditions at large. Readings will include Emerson's essays, Thoreau's Walden., stories by Poe and Hawthorne, Melville's Moby Dick, as well as poetry by Whitman and Dickinson. Requirements: attendance, one short essay, a longer term paper, and a final exam. (Larson)

473. Topics in American Literature. (3). (HU).
North and South American Literature.
A study of themes common to both United States and Spanish-American literature, with the main emphasis on Spanish-American writing since 1945. The course will identify common cultural dilemmas and opportunities in the Americas and examine how Spanish-American writers have honored the literature if not the political power of the United States. Topics include: (1) Faulkner and Garcia Marquez, as creators of imaginary fictional countries with real histories, dynasties, and family atmospheres; (2)Borges and Poe as elaborate provincial artificers, would-be Europeans in an American setting; (3) Neruda and Whitman as poets of the vast American landscape and of American sensuality and fraternity; (4) Arguedas and McNickle, two remarkable writers concerned with the cultural oppression of Indians and their surviving imagination; and (5) Popular arts films, music, soap operas as a basis for the new Latin novel and a means to a common idiom, with differences, in North and South America. Historical background will be provided when it seems called for. A reading knowledge of Spanish is desirable but not necessary. Students will be asked to contribute to discussions, keep a journal, and write a major paper. (McIntosh)

482. Studies in Individual Authors. (3). (HU). May be repeated for credit with department permission.
The Complete Hemingway.
Except for the juvenilia, some of the more repetitive journalism, and two less than successful novels (Torrents of Spring and Islands in the Stream), the bulk of Hemingway's published work is read in this course. Moreover, in order to avoid the charge of an unnatural obsession with Hemingway, related works of two of his literary ancestors (Twain and Crane) and several of his close contemporaries (Stein, Anderson, and Fitzgerald) are examined. Although significant features of his biography are considered, assessment of his technical achievements and intellectual stature as a writer is of primary importance. Admiration of Hemingway is not a prerequisite for this course, and class discussion will probably flourish if the class has a few skeptics from the anti-Hemingway ranks. Course requirements include a paper, a midterm, and a final examination. (Eby)

483. Great Works of Literature. (1). (HU). May be repeated for credit with department permission.
Section 002 Thomas Hardy's Fiction.
A reading and discussion of from three to five of Thomas Hardy's novels, attempting to show various characteristics of and changes in the depiction of his fictional Wessex. The class will meet for one hour a week and proceed through discussion and the interruptible lecture. One paper, 8-10 pages, is required toward the end of the term. (Gindin)

489/Educ. D 440 (School of Education). Teaching of English. Engl. 305 is prerequisite, and concurrent election of Educ. 307, section 040 (formerly Educ. D 309, section 061) is required. (3). (HU).
Section 001.
Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.

493. Honors Survey: Nineteenth Century English Poetry. Admission to the English Honors Program. (3). (Excl).

This is a survey of canonical Romantic and Victorian poets. We will combine close textual analysis and study of the history of evolving poetic forms with attention to the philosophical, social, and psychological concerns of the poems before us. Lecture and discussion. Requirements: Class attendance, two 8-10 page papers, several ungraded one-page commentaries, midterm, final exam. (Ellison)

494. Honors Survey: Nineteenth Century English Fiction. Admission to the English Honors Program. (3). (Excl).

We will read ten major nineteenth century English novels in this course - which means that students will have to get some serious reading done during vacation. We will organize our study thematically, in part, looking first at five young women finding places for themselves in their worlds. The novels are Jane Austen's Emma (1816; Penquin), Thackeray's Vanity Fair (1847; Penquin), Dickens' Bleak House (1851-52; Penquin), George Eliot's Middlemarch (1871; Norton), and Hardy's Tess of the D'Urbervilles (1891; Penquin). We will also look at these novels as works of social criticism, which will lead us to the next five: Emily Brontë's Wuthering Heights (1848; Penquin), Dickens' David Copperfield (1849-50; Penquin), Trollope's Barchester Towers (1857; Penquin), James' The Princess Casamassima (1886; Penquin), and Conrad's The Secret Agent (1907; Anchor). Our general theme for these novels will be the function of imagination and understanding, both for the characters in the novels and for us as readers. We will work with such things as techniques of narration and the craft of fiction as well as thematic issues, but we will not be concerned with theoretical criticism. Daily scribbles, two papers, and a final exam. Please use the editions of the novels listed above. (Hornback)

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