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, which will carry
12 hours of credit, along with English 305 to be taken concurrently
for 3 hours of credit, will normally constitute the student's
entire course load for one term, and will meet 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 separate 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 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 will be arranged under 307 on a concentrated basis for a portion of the term.
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 minor 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 or present instructors: Alan Howes, 763-2269 (office), 662-9895 (home); Stephen Dunning, 764-8420 (office), 668-7723 (home, after 10 a.m.); Richard Harmston, 764-0429 or 763-2287 (office), 995-4880 (home). 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. Admission to these advanced courses is by permission of the instructor, who will require writing samples.
Independent study in English must be elected under one of the following numbers: 226 (Directed Writing, 1-3 hours), 299 (Directed Reading, 1-3 hours), 426 (Directed Writing, 1-4 hours), 499 (Directed Reading, 1-4 hours). There is a limit to the total hours that may be taken under any one number (3 in 226; 6 in 299, 426, and 499). All elections require permission of the professor, on an election authorization (override) form to be turned in at CRISP and also on a departmental approval form. GSTA's are not normally authorized to supervise independent study.
125. Introductory Composition. ECB writing assessment. (4). (Introductory Composition).
Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates at the University of Michigan. In addition to informal exercises or impromptu essays, students can expect to write six or more formal papers conforming to the argumentative conventions of several different disciplines.
Individual course descriptions will be available for reference in 444 Mason Hall after March 24.
Sections 014, 024, 041 (Pilot), 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).
The primary aim of the course is to improve students' skills in reading and writing. We will read five of Shakespeare's plays, using them as the basis for weekly writing assignments. Some class time every week will be devoted to discussion of student writing. Appreciation of Shakespeare is also an aim. Attendance at taped BBC-TV performances of the plays will be required. (Schulze)
Primarily for Freshmen and Sophomores
Courses numbered 200 and above may be elected only after the Introductory Composition requirement has been completed.
220. Intensive Composition. Open to transfer students only. Students must take the ECB Writing Assessment before registering for this course. (2). (Introductory Composition). May be elected for a total of four credits.
Intensive Composition is a course designed especially to meet the needs of entering transfer students. Enrollment in English 220 is limited to senior, junior, and sophomore transfer students. It is a two-credit course, meeting three hours each week for an EIGHT-WEEK (half-term) PERIOD (September 4 to October 31). English 220 will be offered only during the first half of the Fall 1986 Term, and students must be enrolled before the Fall Term begins. The work in English 220 is intensive and the classes are small. This course meets the Intro-Comp requirement and students move from this course to the ECB-required junior-senior writing courses throughout the University. The course is repeatable once, for a total of four hours' credit.
Students enrolled in this course will write much and often - a minimum of 500 words each week. This course differs from English 125 in the pace of the assigned work, and in the assumed level of transfer students' experience as writers. Students are advised against taking this course as an overload. If you have any questions, please contact the Introductory Composition Office, 444 Mason Hall, 764-0418.
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 may be required.
All sections of English 223 will have course descriptions available for reference in 444 Mason Hall after March 24.
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 for reference in 444 Mason Hall after March 24.
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.
227. Introductory Playwriting. (3). (Excl).
Students will learn the fundamentals of playwriting and play analysis. Focus is given over to development of dialogue, characterization, and plot. Students are expected to complete a number of writing exercises designed to acquaint the beginning playwright with structure and style. The writing requirements of the class entail writing several short scenes and two one-act plays. Students must be able to type work on a weekly basis. Those interested in enrolling for the course should add their names to the waitlist at CRISP and also sign up for interviews with the instructor using the list posted outside 2635 Haven Hall. Interviews will be conducted in April and September and overrides will be available then. (Garrison)
230. Introduction to Short Story and Novel. (3). (HU).
Rather than a comprehensive survey of the short story and novel, this course offers an introduction to the basic techniques of analyzing prose fiction. Beginning with short stories, students learn to define questions of narrative construction, voice, characterization, theme, and style. As critical facility increases, the course will consider more challenging and in some cases experimental fiction. At least three novels will be read in addition to numerous short stories. Student should expect to read substantial amounts of fiction, to participate in class discussions, and to write several short literary analyses.
All sections of English 230 will have course descriptions available for reference in 444 Mason Hall after March 24.
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. 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 002. A course in how to understand and enjoy poetry. Poems from all periods of English literature and a few poems from other languages and cultures will give some idea of literary history as well as the various functions of poetry (e.g., story-telling, religious chanting, song and dance, social criticism, self-expression). An array of contemporary examples will indicate the situation of poetry now. Our approach will involve close reading, written analyses, discussion, some memorization, and the acquisition of an impressive technical vocabulary enabling an understanding of poetic meter and poetic form. We shall avoid an intellectual response to poetry which evades feeling, but this will not be a course in "poetry appreciation." Students should expect to let themselves to become rigorous, subtle, intelligent, alert, responsive readers. This will take work. Graduates of the course ought to be able to take any poem, read it intelligently (or know what else they need to do so), and have a sense of how good it is, why, and for whom. Texts will be the Norton Anthology of Poetry, one or two books by contemporary poets (to be arranged once the class is underway), and a course pack of terrific poems that don't make it into the anthologies. Honors section. (Smith)
Section 004. In this course we read and study poems rather carefully so that we can read poetry with more enjoyment and knowledge. This activity is prerequisite to concentrating in English. The course can also be a good one for students not intending an English concentration but who want to know more about poetry. We go by as much reading of poems in class and as much discussion as we can. We invite familiarity with the main manifestations of English and American verse through the reading of a large number of poems written over the centuries as well as through the close reading of a selected few. That way we can hope to get some sense of the range of lyric poetry as well as some skill at seeing how different kinds of poems are put together and how they work: and this not for its own sake but so that we can know more clearly, enjoy more deeply. Toward the close of the course we will study the work of one major poet – perhaps Yeats or Frost or Dickinson. There will be a number of written exercises, two relatively short papers, one hour exam and a final exam. (McNamara)
Section 005. This course is an introduction to literary interpretation masquerading as an introduction to poetry. Through the close study of poems, we will raise questions about ourselves as readers, writers, and historians. The first part of the course will focus on how poems ask questions, invent words, imitate speech, and tell stories. Then we will encounter the minute features of poetic language: sounds, words, sentences, stanzas, refrains, and images. We will explore the transformation of lyric genres over time and with a study of a contemporary poet. Requirements: class attendance; attendance at two poetry readings, followed by brief reports; two papers (one on a poem chosen from Hopwood Room periodicals); homework exercises; and in-class free writing. We will use the Norton anthology supplemented by a course pack. (Ellison)
Section 006. The aim of this course is to teach - or rather to encourage – the reading of poetry with care, sensitivity, critical acuity, and enhanced enjoyment. To this end we will read and discuss, sometimes word by word, a wide variety of poems written in English over the past 400 years. Most students in this class will be considering English concentrations, but anyone who loves literature or the play of language is eligible to enroll. Vigorous class participation will be expected. Several short papers and a term project will be required; there may be occasional quizzes. (Faller)
Section 008. This section of English 240 will teach skills useful in the close and enjoyable reading of a poem. A prerequisite for concentrators in English, the course requires regular attendance, active participation, persistent practice in close reading, and critical/evaluative writing. I will try to make the work stimulating and satisfying. That work will include: (1) reading poems silently and aloud, and studying and discussing them; (2) reading from the text, and discussing issues it raises, keeping a journal of questions and responses as we read; and (3) writing "exercise" poems. Beyond such work, students will learn to relate one poem to other poems, to their selves, and to traditions and events; they will bring into play an increasing understanding of craft and a growing interest in the sounds, images and feelings generated by "the best words." The text, Western Wind (John Nims) is friendly, wise, and helpful. Also helpful will be our efforts to write both formal and free poems. Required papers: three short (2-3 page) papers; three quizzes on text; a reading journal; and a final project. (This might be critical or historical; might focus on an individual "poet hero/heroine," including imitations of that poet's work; or might deal thematically with poems from various poets. (Dunning)
Section 010. This section of the Introduction to Poetry is a very traditional course covering the basics of prosody, techniques of scansion, and verse forms. The emphasis is on pre-20th century poetry, (with more time than some students might like – 2-3 weeks - spent on medieval poetry and ballads) and the aim is to teach close reading and comprehension. The course covers sections from the following poets and types: Medieval lyrics, Chaucer, ballads, Wyatt, Spenser, Sidney, Shakespeare's sonnets, Donne, Herrick, Herbert, Suckling, Lovelace, Marvell, Gray, Blake, Wordsworth, Coleridge, Keats, Tennyson, Browning, Frost, Eliot, Dylan Thomas, as time permits. The course concentrates, therefore, on traditional poets who are taught in a historical, chronological sequence, with occasional lectures, class explications, several class essays, a short outside paper and final examination. The complete Norton Anthology of Poetry is used. (Garbaty)
Section 011. This prerequisite to the English concentration is open to anyone interested in learning a finer understanding and enjoyment of poetry. Students will come to recognize, appreciate, and be able to evaluate the quality of various poetic devices such as metaphor, rhythmic variation, and poetic form itself. And students will gain a sense of English and American poetic traditions. Much of the course will entail close reading, both in class discussion and in written work. Assignments will include five 3-5 pp. papers and an essay final exam. The major text will be X.J. Kennedy's Introduction to Poetry. (Rabkin)
245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).
This course is open to all undergraduates and 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, discuss, see, and experimentally perform pieces of seven dramas by playwrights preeminent in the theatre's history. Each of these major plays represents a different set of theatrical conditions – stage size, shape, acting style, costuming, scenic decor, audience make-up – within which the dramatist worked and by which the theatrical performance communicated to the audience. The aim is to know these seven plays and their potential theatrical "meanings" intimately. Augmenting this group of plays will be eight more, of which a reading acquaintance is required. The method of the course is a combination of discussion, practical experiment, and guest lecture. Visitors from several University departments will give formal lectures on broad background topics; most classes will include both prepared and impromptu scene presentation and discussion. There are two short (3-5 pp.) analytic writing exercises required, as well as a midterm exercise (not a graded exam) and an end-of-term presentation which involves the entire class in concert. The principle text will be the anthology Masterpiece of the Drama (Allison, Carr, & Eastman). Attendance at a number of local theatrical performances will also be required. (Walsh)
285. Introduction to Twentieth-Century Literature. (3). (HU).
We will orient ourselves to the philosophical revolutions and literary experiments of twentieth century texts by reading Nietzsche's Birth of Tragedy and Freud's Civilization and its Discontents. We'll pursue the issues they raise in a series of modern novels, stories, dramas, and poems including Mann's Death in Venice, Eliot's The Wasteland, the poems of Yeats, Camus' The Stranger, Woolf's To the Lighthouse, Joyce's Portrait of the Artist as a Young Man, Chekhov's The Cherry Orchard. Several short topic papers and two take-home exams will be required. (Norris)
Primarily for Juniors and Seniors
302. Writing About Good Books. (4). (HU).
This course is open only to juniors and seniors who are fulfilling the Junior-Senior writing requirement. The ECB modification should be added at the time of registration. The goals of this course are to engage students in books that are enjoyable and instructive and to help them learn to write more effectively and with increased pleasure. Students will select books from a list that offers significant choices in both style and content. The books come from a number of different cultural traditions and most are from the twentieth century. The papers will deal with the books' meaning to the student; there is considerable flexibility in the choice of topics. A book and paper will be required about every two weeks. In some lectures and in some comments on the papers, the instructor will explore the factors that contribute to clear, direct, and creative writing. The importance of revision will be stressed. The general problem of writing well will be presented as each individual's search for the best language to express his or her own meanings. Most of the standard formulas taught in schools do not apply. Student will work in pairs to help prepare papers for submission. For part of the term, students will participate in writing workshops without an instructor. These co-worker and workshop requirements are potentially the most productive parts of the course, but their success will depend upon a special kind of self discipline. (Meisler)
305. Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).
People usually think of linguistics as the study of strange and exotic languages and linguists as individuals who know lots of different languages. We think that foreign languages are complex because we have found them difficult to learn, but we think of our own spoken language as something rather simple, something that comes "natural." This course is an introduction to Language by means of very close study of English. We will discover all sorts of complexities which we assimilated "without any bother at all," and which are invisible until we look very hard. Our aim is to understand how languages are put together and how they work. We will study the English language as a whole and then look at our own personal varieties of speech. Our focus will be on gaining knowledge of our native language in terms of what we do with language, as well as what language does for us and to us. Class format will be lecture/discussion. Grades will be based on frequent short assignments, two hour exams, and a final. Text: Traugott and Pratt, Linguistics for Students of Literature. (Toon)
315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits with department permission.
This course will examine a series of novels written by women in the twentieth century. They will be read in terms of the light they shed on female experience as well as on the literary structures women writers have used to articulate that experience. Topics such as the mother-daughter relationship, the choice between work and marriage, the intersection between race, class and gender will be discussed. In addition questions of feminist literary criticism, such as women writers in literary history, women as writers in marginalized cultures and as innovators within the genre of the novel will be addressed. Selected works include: Colette's The Vagabond, Atwood's Lady Oracle, Rhys' Wide Sargasso Sea, Morrison's The Bluest Eye, Emecheta's Second Class Citizen and Woolf's Orlando. Class will consist of lectures and small discussion groups. There will be two papers, a midterm and a final exam. (Herrmann)
318. Literary Types. (3). (HU). May be
repeated for credit with department permission.
Section 001 – Novels of Espionage. Like all 200-level courses and above, this course may be elected only after the Introductory Composition requirement has been completed. Like all 300-level courses and above, it is intended primarily for juniors and seniors. A prerequisite for admission is the prior successful completion of at least two 200-, 300-, or 400-level English courses or the equivalent. In this course we shall read Joseph Conrad's The Secret Agent, Somerset Maugham's Ashenden, John LeCarre's The Spy Who Came in from the Cold, Anthony Burgess' Tremor of Intent, Graham Greene's The Human Factor, Eric Ambler's The Care of Time , Charles McCarry's The Last Supper and a novel by Adam Hall to be chosen later. Corollary reading on the development of modern intelligence and espionage will be William Stevenson's A Man Called Intrepid. We shall study these novels not only to analyze the way in which their authors achieve their spectacular effects dependent upon intrigue, suspense, and action, but also to try to understand the psychology of the principal characters, the moral issues underlying the tradecraft of espionage, and the relevance of all these materials to events in today's world. Lecture, discussion, three tests, and an optional term paper. The tests will comprise factual completion questions, identifications of crucial passages, and essay questions. (Blotner)
Section 002 – Fantasy. This course will explore the nature and uses of fantastic narratives from the beginning of the nineteenth century to the present, drawing texts from such widely different fields as fairy tale, science fiction, and the so-called New Novel. No special background in literature is required for registration, but we will immediately begin to consider broad concepts of art and analysis that should help increase understanding and enjoyment of the books as we go along. Although the class is large, I encourage your participation both in the lecture hall and at informal office hours. To facilitate our interactions, I maintain open office hours. If you come alone or have a particular question, fine; if a number of you are there at once or if you just drop by, we will find ourselves with a "small group discussion." The written work for the course will proceed on a contract-like basis as described on a separate sheet. That work will revolve around weekly, short papers. There will be no exams. I will select pieces (from the book list) for class discussion in advance, but you should – with exceptions to be made clear in class – read each book in its entirety. Household Stories of the Brothers Grimm, (1812-1815), Dover; Tales of E.T.A. Hoffman, (1809-1822), U-Chicago Press, ppr; The Portable Poe, (1835-1849), Viking, selections; The Annotated Alice, Lewis Carroll (1865, 1872), World, ppr; The Time Machine, H.G. Wells (1895), Berkley; The Penal Colony, Franz Kafka (1915), Schocken, ppr (selections); The A.B.C. Murders, Agatha Christie (1936), Pocket Books; We, Eugene Zamiatin (1920), Dutton; The Erasers, Alain Robbe-Grillet (1953), Grove; The Tolkien Reader, (1949-1964), Ballantine (selections) The Phantom Tollbooth, Norton Juster (1961), Random House, ppr; Cosmicomics, Italo Calvino (1965), Harbrace; In Watermelon Sugar, Richard Brautigan (1968), Dell; Secondary text (to be read early and consulted throughout the term as needed): The Fantastic in Literature, Eric S. Rabkin (1976), Princeton U Press, ppr. (Rabkin)
320/CAAS 338. Literature in Afro-American Culture. (3). (HU). May be repeated for a total of 6 credits with department permission.
See Afroamerican & African Studies 338. (Awkward)
323. Creative Writing. Junior standing
and written permission of instructor. (3). (HU). May be repeated
Section 001. This will be a workshop in the writing of fiction of any kind and length each student desires to undertake. Subject matter, themes, genre are entirely at the student's discretion. A thousand to 1200 words a week quota to be submitted at least every two weeks. Most class meetings devoted to consideration of writing by the class. No text or exams. People interested in enrolling should submit a short sample of their work to the Undergraduate Secretary (7607 Haven Hall) by April 4th. She will have the list of those accepted by April 9th. Students interested in enrolling for the course after this date should add their names to the waitlist at CRISP, submit a writing sample to 7607 Haven and check back before the first day of classes in September to see if they were admitted. (Creeth)
Section 002. This section will be devoted entirely to the writing of poetry. We shall read and discuss poems by established authors from an anthology, as well as essays by different hands on the theory and craft of verse, from Donald Hall's text Claims for Poetry. In traditional workshop style, students will pass around copies of their work to other members of the class, and these poems will be discussed in class sessions. The virtue of revision will receive special attention. Grading is based on the quality and quantity of work, as well as participation in class discussions. Students interested in enrolling in the course should leave a sample manuscript of 3-5 poems in the Undergraduate Office of the English Department, 7607 Haven Hall, no later than April 4. A class list will be available there Monday afternoon, April 7. Students interested in enrolling after early registration should add their names to the waitlist at CRISP and check with the above office to see if places are still available. (Goldstein)
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 for reference in 444 Mason Hall after March 24.
Section 013: Professional Semester. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.
356. Core II (Great English and American Books). (4).
Section 001. A selection of major writers from the late seventeenth to the mid-nineteenth centuries. Readings will include, in this order: Dryden, All for Love; Wycherly, The Country Wife; Swift, Gulliver's Travels; Fielding, Joseph Andrews ; Austin, Pride and Prejudice; selected poems by Pope, Wordsworth, and Keats; and Thoreau, Walden. Each student will also read an additional work of his or her choice, to be chosen from a list of supplemental texts. There will be two exams, a midterm, and a final. A number of brief, informal papers will be required, and also a term paper. This course will emphasize the close reading of literary texts, with a view to their special situation in larger ideological contexts. Our best classes will be lively discussions punctuated by brief lecturely interludes. (Faller)
Section 003. One of the sequence of courses required for English concentrators, although open to others, this course treats a number of significant English writers from the late seventeenth through the early nineteenth centuries, and a number of American writers of the early nineteenth century. Included in the reading will be a play by Congreve, poetry by Dryden, Pope, Wordsworth, Coleridge, Keats, Shelley, Emerson, Whitman, and others, novels by Fielding, Sterne, and Jane Austen, and prose by Swift, Johnson, Hawthorne, and Melville. Classes will proceed both by discussion and the thoroughly interruptible lecture. Students will write three papers, a midterm, and a final examination. (Gindin)
Section 005. We will read masterpieces in verse by Dryden, Pope, Blake, Wordsworth and Shelley, and in prose by Swift, Fielding, Austen and Melville (Moby Dick). Attention will be paid to historical contexts and to the comparison of Neo-Classic and Romantic orientations to the world and to literature. There will be two 5-6 page papers, a midterm and a final. (Schulze)
357. Core III (Great English and American Books). (4).
Section 001. This course, designed for English concentrators, will examine representative English and American literature of the post-Darwinist epoch. Works to be read and discussed will reflect the larger themes of anomie, entropy, and isolation. The reading list will include the following probables: James, Turn of the Screw with Lawrence, Lady Chatterly's Lover; Conrad, Heart of Darkness with Twain, A Connecticut Yankee; Anderson, Winesburg, Ohio with Joyce, Dubliners; Hardy, Jude the Obscure with Orwell, Keep the Aspidistra Flying; Hemingway, African Stories with Faulkner, The Bear; West, Day of the Locust with Fitzgerald, The Last Tycoon. To avoid the charge of provincialism we will conclude with Kafka, In the Penal Colony and Mann, Mario and the Magician. Students will participate in discussion groups. The usual round of papers and exams will be required. (Eby)
Section 002. Survey in nineteenth and twentieth century English and American literature. Probable authors considered: Browning, Tennyson, Arnold, Dickens, Melville, Chopin, Gissing, Yeats, Eliot, Hemingway, Woolf, Barthelme, Bambara. Three papers, final. (Kucich)
Section 003. The third in the Core sequence for English concentrators, this course will treat British and American literature from the mid-nineteenth to the mid-twentieth centuries. Although the emphasis will fall on fiction, some poems of the major poets of the period – Tennyson, Browning, Yeats, Eliot and Auden – will be studied. The fiction to be read includes George Eliot's Middlemarch, Henry James' Portrait of a Lady, Edith Wharton's The Age of Innocence, Joseph Conrad's Heart of Darkness, James Joyce's, Portrait of the Artist as a Young Man, D.H. Lawrence's Lady Chatterley's Lover, F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's The Son Also Rises and William Faulkner's The Bear. There will be two medium length papers (about six pages) and two hourly exams. The course will combine lecture and discussion, the instructor's hope being that student initiative and aptitude in the latter mode will minimize the need for the former. (Beauchamp)
Section 004. This is the third of three Core courses, required of English concentrators but open to all students interested in the best English and American literature of the past hundred years. We will read Henry James' The Portrait of a Lady, E.M. Forster's Howards End, F.M. Ford's Parade's End, O'Neill's Mourning Becomes Electra, Faulkner's Light in August, Baldwin's Another Country, Thornton Wilder's Theophilus North, and Margaret Laurence's The Diviners. That list provides not only satisfying richness but also fascinating variety – in several genres and in several experimental modes. The course will include some introductory lectures but will depend on informed class discussion. Students will write two major essays and few brief exercises. There will be a final examination. (Powers)
367. Shakespeare's Principal Plays. (3).
Section 001. The focus of this course will be on the interrelationships between Shakespeare the poet and Shakespeare the playwright. Particular emphasis will be placed on the special staging problems encountered in the Shakespeare repertory with an emphasis on how a text is translated into performance reality. In order to focus on how the plays can work in the theater, the course will make steady use of the Shakespeare videos in the collection at the undergraduate library. Lectures will take into account the many ways in which the contemporary theater attempts to accommodate itself to the dramatic conventions of another time and another place and how these conventions continue to resonate on the modern stage. Representative works will be selected from the tragedies, comedies, and histories. Assessment will be in the form of term papers (two) and a final exam. (Brater)
Section 002. In English 367 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. Here is a tentative syllabus: Merchant of Venice, Much Ado About Nothing, As You Like It, Othello, Troilus and Cressida/Macbeth/All's Well That Ends Well, The Winter's Tale. I don't have a particular method of approach, and I don't concentrate on special themes or topics. The idea is to go through the plays as intensively as possible, with an eye to getting pleasure from them. No special background is required. You don't need to be an English concentrator. I would not want to discourage anyone who cares about literature from taking the course. But a friendly word of caution: the material is demanding, and maybe you will find that the approach is demanding, too. If you don't mind extending yourself, this may be a good course for you, but not if grades are the end-all and be-all. Instruction will be by lecture/discussion. Assuming that the class turns out fairly large, it will be difficult to elicit informal discussion. I intend to try, however, and will count on student collaboration. You can expect spot quotation quizzes on the plays, two short papers, a midterm and a final. You must take all the quizzes to be eligible for a passing grade in the course. The course grade will depend on an averaging (not strictly quantified) of your written work, plus an estimate of your performance in class. The texts will be the Signet paperback series, one volume to a play. (Fraser)
391. Honors Survey: Medieval English Literature. Admission to the English Honors Program. (3). (Excl).
This course allows you to work closely with some of the finest literature produced in England in the Middle Ages. The texts we will concentrate on, which will include Beowulf, Chaucer's Canterbury Tales, Sir Gawain and the Green Knight, Pearl, Malory's Morte Darthure, Piers Plowman, medieval lyrics and drama, illustrate favored genres, modes and themes of the period. We will consider not only the works themselves, but the intellectual and cultural environment in which they emerged. Requirements for the course include two short and one longer paper and active and informed class participation. (McSparran)
392. Honors Survey: Renaissance English Literature. Admission to the English Honors Program. (3). (Excl).
This course examines the literature of the English Renaissance. Although the course focuses on the literary masterpieces of the period, we will also study the historical and intellectual background and issues in critical interpretation. The course begins with seminal works in the humanist and Reformation traditions: Erasmus' In Praise of Folly and the Coverdale translation of the Psalms. Following this, we will read Sidney's Astrophel and Stella; Spenser's Epithalamion and the Mutability Cantos; Marlowe's Faustus; selections from Shakespeare's Sonnets and his Twelfth Night and Henry IV, part 1; Jonson's The Alchemist; selected poems of Donne and Herbert; and Milton's Lycidas and Paradise Lost. Requirements: weekly short (two page) papers and class participation. (Shuger)
401/GNE 481/Rel. 481. The English Bible: Its Literary Aspects and Influences, I. (3). (HU).
The Bible is a book, a text; it is also a collection of texts of the most astonishing variety and range. Our emphasis this term will be on that second characteristic. We will not try to read all the works there collected, but will select examples from the historical books (Torah), the Prophets, and the Writings, from the gospels, letters, and the Apocalypse. Our first task will be to try to understand these works both in terms of form and content, and then in terms of the circumstances which gave rise to and shaped them. We will also study how the Bible came to have the form as a whole that it does now, and consider its transmission, both as text, and, more widely, as cultural influence. Students will be encouraged to study especially the literary influence of the Bible in authors of interest to them. Exactly which books of the Bible are read will be determined in part by class need: we shall surely touch on Genesis, Exodus, Job, the Psalms, Proverbs, Ecclesiastics, Isaiah, Hosea, one gospel, the Acts of the Apostles, the Epistle to the Romans, and the Apocalypse. There will be, in all likelihood, three essays of moderate length, a midterm, and a final. Class attendance and lively participation in discussion will be essential. (Williams)
406/Ling. 406. Modern English Grammar. (3). (HU).
See Linguistics 406.
412. Major Directors. (3). (HU). May be
repeated for credit with department permission.
Section 001 – Italian Neorealism and French New Wave. This course studies two of the most significant movements in film after the second world war. Both Italian Neorealism and the French New Wave were in response to moribund film industries in their native lands and both were to expand the sensibility and technique of future filmmakers. We shall examine the individual achievements of major films from each group while also placing such work in the context of world cinema. We shall also develop some theoretical concepts about film in general by playing these two groups off one another. Among the films of the Italian Neorealists that we shall study are Rossellini's Rome – Open City and Paison, and DeSica's Shoeshine, Bicycle Thief, and Miracle in Milan; among the French New Wave films are Truffant's Shoot the Piano Player and Jules and Jim, Goddard's Breathless, and Resnais' Hiroshima mon amour. Students will write a series of short papers on a number of these films while also taking a midterm and final examination. (Konigsberg)
Section 002 – Fellini and Huston. We will make a careful analytical study of major films spanning the careers of these two masters with many obvious differences and one overriding trait in common: their lust for life. Our focus will be on the cinematic "languages" and the dramatic themes of these directors, the relationship between what they say and how they say it, their styles, their content, and their contexts. I will post the exact schedule of films outside my office (2627 Haven Hall) before the end of the Winter Term. There will be one film per week, two lecture classes, and mandatory small discussion groups, scheduled at your convenience. English 412 may be repeated if content is different from a previous election; there are no prerequisites. Nevertheless, the course is not "An Introduction to the Movies." Previous work in film theory, history, mechanics, critical analysis, and aesthetics couldn't hurt. Should film study be new to you, I will be happy to recommend preparatory reading before you leave for the summer vacation. The course will pay attention to meat and potatoes as well as to sauce and soufflé (and, while we're at it, to nuts and bolts; it isn't all culinary). An obligatory lab fee covers the cost of seeing films. Some reading (Giannetti's Understanding Movies or an alternate text if that is old news to you) and rigorous writing (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)
416/Hist. 487. Women in Victorian England. (4). (HU).
This is an interdisciplinary course using history and literature to explore the position of women in Victorian England (1837-1901). You may receive either English or History credit. The Victorian age in England saw some of the most culturally repressive attitudes toward women, but also some of the strongest efforts to emancipate women. These extremes coincided with the first industrial revolution, and a time of great disparities in wealth and poverty. We will explore the stereotypes of the ideal woman, and the many responses to her; the struggle to improve women's education and to open the professions; the living conditions and lives of rural and urban working women; and such general issues as sexuality, crime and prostitution. Readings will include a course pack, three novels, an autobiography, critical essays of the times and modern interpretations. Requirements include one paper, one annotated bibliography and a final exam. (Vicinus)
417. Senior Seminar. Senior concentrator in English. (3). (Excl).
NOTE: ENGLISH 417 SHOULD BE ELECTED BY SENIOR ENGLISH CONCENTRATORS ONLY.
English 417 along with the Core courses meets the Junior-Senior writing requirement for English concentrators ONLY. Please add the ECB modification for 417 at CRISP.
Section 001 – The Modern Novel in England. This class will focus on two novels by four modern British novelists to understand the individual achievements of each figure, but also to understand the nature of the modern novel, especially in relation to the fiction of other periods. Using these works, the class will also study the genre of the novel, focusing on both narrative techniques and the reader's response to the text. The class will read Joseph Conrad's Lord Jim and Nostrome, E.M. Forster's Howard's End and Passage to India, D.H. Lawrence's Sons and Lovers and Women in Love, and Virginia Woolf's Mrs. Dalloway and To the Lighthouse. Students will write a series of short papers on a number of these novels. (Konigsberg)
Section 002 – 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. Students will be expected to pay for two or three theater tickets and perhaps a film fee. (Lenaghan)
Section 003 – Seeing, Seeing Seers, and Being Seen: The Aesthetic Eye. This course will be interdisciplinary in its focus, considering what happens when we look at paintings, contend with point of view in fiction, go to the theater, or look at a film. Do we look only at objects or artifacts when we look at art, or do we engage with another consciousness, and do texts make us feel as though they "see" us as we see them? A series of topic papers and two longer papers will be required for the course. (Norris)
Section 004 – Lyric Poetry in Renaissance England. This class will attempt to trace the development of the lyric in relation to the social and religious changes experienced in Renaissance England. We will explore the varying degrees to which this genre can manifest or disguise the interiority of a speaker in the work of Wyatt, Sidney, Spenser, Shakespeare, Donne, Herbert, Jonson, Milton, Vaughan, and Marvell. We will pay particular attention to the complex relationships between self and society, between sincerity and artifice, and between the secular and the sacred, as we analyze the conjunction of political, amorous, and religious motives in the Renaissance lyric. Requirements include attendance and participation, two papers (one short, one long), and a short oral report. (Schoenfeldt)
Section 007 – Modern Women Writers. This course will examine a wide range of novels written by modern women writers, with a particular emphasis on innovative narrative forms. Female literary experimentation will be discussed comparatively as it emerges under the influence of Modernism and as it is produced by cross-cultural experiences of gender. The class will also address issues raised by feminist literary criticism and theory in both the Anglo-American and French traditions. Readings will include Colette's The Vagabond, Woolf's To the Lighthouse, Stein's Ida, Wolf's The Quest for Christa T., Kingston's The Woman Warrior, Morrison's The Bluest Eye and Wittig's Les Guerilleres. There will be an oral presentation, two short papers and a final essay. (Herrmann)
Section 008 – Afro-American Women Novelists. Our primary goal in this seminar will be a delineation of an Afro-American woman's tradition in novels. By exploring 20th century texts by preeminent figures such as Zora Neale Hurston, Paule Marshall, Alice Walker and Toni Morrison, we will be able to address not only the common thematic thrusts of the novels – that is, the racial and sexual oppression of Black women in America – but also the particular (and unique) ways in which these texts speak to one another. In order to successfully achieve our goals, it will be necessary for students to familiarize themselves with critical issues (particularly in the fields of feminist and Afro-Americanist criticism) which will help facilitate discussions of currently controversial theories of literary influence and race's and gender's role in the creation of texts. Because this is a seminar, students will be required to participate actively in classroom discussion (including two oral reports – of 10 and 30 minutes). Other course requirements: one fairly long essay (15-20 pages) based, to some extent, on the longer oral report; one brief (2-4 page) essay; and one 5-7 page essay. Texts will include: Nella Larsen's Quicksand; Hurston's Their Eyes Were Watching God; Paule Marshall's Browngirl, Brownstones and Praisesong for the Widow; Toni Morrison's The Bluest Eye and Sula; Gloria Naylor's The Women of Brewster Place; and Walker's The Color Purple. (Awkward)
Section 009 – Fitzgerald and Hemingway. A careful reading, discussion, and critical analysis of selected short stories and major novels by F. Scott Fitzgerald and Ernest Hemingway. Works such as The Great Gatsby, The Sun Also Rises, Tender is the Night, A Farewell to Arms, The Last Tycoon, and For Whom the Bell Tolls among others will be the subject and focus of the seminar. Class sessions will be primarily discussions of the texts, the critical reception, and a close textual reading. Class members will lead discussions of individual works, initiate research topics for papers, and write two papers (one on Fitzgerald and one on Hemingway). Some time will be spent on the social and cultural background of the twenties and thirties that helped to shape and identify a new style and approach to American fiction. Regular attendance and participation in the seminar spirit are expected; a final exam is probable to pull things together as an overview of the writers and their works. (Martin)
Section 010 – Effective Prose. The primary subject of this seminar will be the prose style of its participants; its secondary subject will be the prose style of a few well-known authors chosen by members of the seminar. In both cases its purpose will be to enable experienced readers and writers to understand sources of effectiveness in prose-that-works, and of ineffectiveness in prose that doesn't. The results of such understanding lead to the intent of this seminar, which is to enable its participants to be writers who please themselves by becoming editors sufficient to their own needs. (Fader)
Section 013: Professional Semester. Reserved for Professional Semester participants. See the description at the beginning of the English Department listings.
427. Playwriting. Permission of instructor. (3). (HU). May be repeated for credit.
This course is the continuation of English 227, Introduction to Playwriting. Students are given the opportunity to work with Milan Stitt, Resident Playwright from Circle Repertory Theatre in New York City. Students are expected to expand the skills garnered in 227 into a fully realized three act play. Playwrights write for a company of actors who perform written work on a weekly basis. The term culminates in a public performance of student work. Students who have taken English 227 and who are interested in enrolling for this course should add their names to the waitlist at CRISP and also put their names on the sign-up sheet for interviews posted outside 2635 Haven Hall. Interviews will be conducted in September and overrides will be available then. (Stitt)
430. The Rise of the Novel. (3). (HU).
The novel is at once innovative and traditional, and has been so from its beginning. We shall start by looking at some of the predecessors of the novel; it would be helpful for students to have some familiarity with the epic (Iliad or Odyssey) and the romance (Dante's Divine Comedy or Spenser's Fairie Queene ). Such works form the idealistic foundation from which the novel often makes satiric departures, and there will not be time in the course to study them properly. In the course itself we will read both parts of Cervantes' Don Quixote and works drawn from such early English authors of fiction as Defoe, Swift, Richardson, Fielding, Smollett, Sterne, Walpole, Goldsmith, Burney, and others. Students interested in women writers may make some special arrangement for the reading list in this course, as women were more than usually influential in the development of the novel. Writings will consist chiefly of brief shared notes on the reading, with perhaps two fairly short papers and a final examination. Class meetings will consist chiefly of discussion; all students are expected to be regular and active participants in class meetings. Students who cannot meet this expectation should not take this course. (Cloyd)
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)
433. The Modern Novel. (3). (HU).
"The Modern Novel" is a term usually understood to refer to major fiction of, roughly, the period between the middle of the nineteenth century and the middle of the twentieth century - or, more specifically, of the century following the publication of Flaubert's Madame Bovary. We will read a selection of nine novels that represent the major concerns and achievements of writers in English who followed – more or less consciously - the lead of Flaubert (and two of the earliest did so quite consciously): four American novels, James' The Portrait of a Lady, Toomer's Cane, Faulkner's Light in August, and The Sound and the Fury, and five British novels, Ford's Parade's End (a tetralogy) and Laurence's The Diviners. There will be introductory lectures, but the conduct of the course will depend on class discussion. Writing assignments will include two or three short essays and a term paper (a total of some 5000-7000 words). There may be a final examination. It is strongly recommended that students have a lower division literature course (e.g., English 230 or 270) before taking this course. (Powers)
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 Samuel Beckett, John Barth, Joseph Heller, John Hawkes, Saul Bellow, Norman Mailer, Thomas Pynchon, Kurt Vonnegut, and Jerzy Kosinski. Lectures and class discussion. Two papers will be required. (Aldridge)
440. Modern Poetry. (3). (HU).
In this course we shall study the major poetry in English of the period 1900-1940. Our principal subject matter will be work by the most important poets – Thomas Hardy, W.B. Yeats, T.S. Eliot, Ezra Pound, D.H. Lawrence, H.D., W.C. Williams, Marianne Moore, Robert Frost, Hart Crane, Wallace Stevens, W.H. Auden – but we will also devote some time to special topics like Imagism, the poetry of The Great War, and the Harlem Renaissance, as well as to the social, historical, and literary backgrounds of modern poetry. The objective of the course is a clear understanding of the techniques and themes of modern poetry, which are especially significant because they continue to influence and inform the poetry of our own time. The format is lecture and discussion. Requirements include two papers, a take-home midterm, and a final examination. (Goldstein)
448. Contemporary Drama. (3). (HU).
Which are the most vital and significant dramatists to have emerged in America, Britain, and mainland Europe, in the past 40 years? What distinguishes, what connects them? What generalizations can be made about their aims, their moral and social attitudes, their styles, the forms they use, their effectiveness in performance? What are the omens for the future? Among the playwrights we will be examining, as we attempt to answer those and other questions, are Arthur Miller, Tennessee Williams, Samuel Beckett, Jean Genet, Harold Pinter, Sam Shepherd, David Mamet and Caryl Churchill. Among the topics to be pursued are Absurdism, the Legacy of Artaud and his Theatre of Cruelty, the relevance of Brecht and his Epic Theatre, the Evolution of Naturalistic drama and the "well made play," theatre language, and the impact on the written script of the director, the performers, and the circumstances of production. Performance in this course will be assessed on the basis of two papers, midterm and final exam. (Nightingale)
450. Medieval Drama. (3). (HU).
This course, a new one in Departmental offerings, invites study of the origins, development and manifestations of drama in England before the time of Shakespeare. It is a period and kind of drama and theatre rich in literary and performance values and offering opportunity for many sorts of questions and discovery in the art of the play. We begin with the earliest forms of dramatic gesture and message and go on to study the liturgical, mystery, and morality play, and late medieval interlude. We learn about a body of drama and theatre interesting in its own right; in doing so we will see a lot of what helped shape Shakespeare's sense of the way drama might be made and be made to mean. The course amplifies a student's sense of the richness of Shakespeare; it is a good preparation for English 445, Shakespeare's Rivals; it fulfills the concentration requirement of one course in earlier literature. We will, using as text David Bevington Medieval Drama, proceed by lecture and discussion, the mix depending on class size, and by attempting to work out performance values cooperatively in class. We might be able to work up a production, or scene performances. There will probably be two relatively short papers, one longer one, one hour exam, one final exam. (McNamara)
455/MARC 455. Medieval English Literature. (3). (HU).
"Heroic, Courtly and Popular Modes." The course consists of an intensive study and close reading of the English epic Beowulf, the romances King Horn, Havelok the Dane, and Sir Gawain and the Green Knight, the popular allegory Piers Plowman, Miracle Plays and the Morality Play Everyman, and ending with Malory's The Death of King Arthur . Class discussion and reading are interspersed with background lectures. The harder pieces are of course read in translation, but part of the pleasure is to attempt easier works in the original with the help of extensive glosses. Two in-class essays on topics to be assigned, possible occasional short quizzes and take-home final. Texts: Beowulf, (Kennedy trans., Oxford Univ. Press); Middle English Verse Romances, (Donald Sands ed., Holt, Rinehart, Winston); Pearl and Gawain and the Green Knight, (A.C. Cawley, ed., Everyman's Library); Piers the Ploughman, (Goodridge, trans., Penguin); Everyman and Medieval Miracle Plays, (A.C. Cawley, ed., Dutton); Malory: The Morte D'Arthur, (D.S. Brewer, York Medieval Texts, Northwestern Univ. Press.) (Garbaty)
465/MARC 465. Chaucer: The Canterbury Tales. (3). (HU).
We will read most of the Canterbury Tales and some of Chaucer's other work. Class time will be largely devoted to discussion of these texts, which will of course be read in Chaucer's Middle English. There will be a final examination at the scheduled time. Undergraduates will do two or three shorter papers and graduate students will write one longer paper. The Canterbury Tales are, among other things, a dramatic anthology of various literary types. So, as an anthology, they point rather precisely out from Chaucer into late medieval literature, and as drama they point to the social life of 14th century England. It will be an important effort in the course to keep these two contexts actively in mind, while we keep the poem in central focus. (Lenaghan)
472. Twentieth-Century American Literature: Key Texts. (3). (HU).
In this course we shall read a wide variety of twentieth century American fiction, non-fiction, and poetry, examining closely the individual texts as well as their relation to cultural and literary traditions at large. We shall be especially concerned with arriving at some working definition of the term "modernism" and with what impact this exercised upon the authors before us. A partial reading list includes poets such as Eliot, Frost, and William Carlos Williams; novels by Faulkner, Hemingway, and Dos Passos; and, time permitting, texts by more contemporary writers. Requirements: attendance, two mid-range papers (5-8 pages), and a final term paper. (Larson)
473. Topics in American Literature. (3).
Section 001. During Fall Term 1986, this section is jointly offered with American Culture 498, section 001. (Lebeau)
Section 002. During Fall Term 1986, this section is jointly offered with American Culture 498, section 002. (Zimmerman)
Section 003. During Fall Term 1986, this section is jointly offered with American Culture 498, section 004. (Wald)
Section 004. During Fall Term 1986, this section is jointly offered with American Culture 498, section 005. (Martin)
482. Studies in Individual Authors. (3).
(HU). May be repeated for credit with department permission.
Section 001 – James Joyce and Joseph Conrad. James Joyce and Joseph Conrad will be treated as great pioneers of modernism in the novel. The class will examine the various ways in which their treatment of character and society, the form and style of their novels, and their major thematic preoccupations have contributed to the distinctive approaches of novelists in the modern age. Joyce and Conrad, along with Flaubert, Dostoevsky, and Henry James, provided the formal foundations as well as the ideological premises on which the modern novel was created. A study of their work is, therefore, a valuable preparation for further studies in 20th Century literature. Texts will include some of the major works of the two authors. Ulysses will be read in its entirety. Two papers will be required. (Aldridge)
483. Great Works of Literature. (1). (HU).
May be repeated for credit with department permission.
Section 001 – George Eliot's Middlemarch. Our text is one of the great novels in the history of fiction. It has been called the last great Victorian novel as well as the first great modern novel. Virginia Woolf called it the best novel ever written for an adult audience. Middlemarch was first published in eight monthly parts, between December of 1871 and December of 1872. We won't take quite that long to read it, but we will spread out our reading over the full fourteen weeks of the term, so that we can enjoy our work fully. The Norton Critical Edition of Middlemarch is recommended. Term papers due 10 April. (Hornback)
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 course provides a survey of the major Romantic and Victorian poets. Close textual analysis shall be emphasized, though we shall also be looking into the history of evolving poetic forms and how these inform the philosophical, social, and psychological issues of the period. Lecture and discussion. Requirements include two 8-10 page papers, a handful of short, one page commentaries, and a final exam. (Larson)
494. Honors Survey: Nineteenth Century English Fiction. Admission to the English Honors Program. (3). (Excl).
We will read nine major nineteenth century English novels in this course. That means, among other things, that students will have to do some serious reading during the long vacation. Our general theme as we study will be that of social criticism, which includes the function of the imagination in understanding the world we live in, the finding – or creating of – one's place in that world, and the critical examination of it. 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 the theory of criticism. Our focus will be on literature and society, as these are represented in our novels, not on ourselves as readers of these novels. Daily scribbles, two papers, and a final exam on the day appointed. Our novels are these: Jane Austen's Emma (Penguin; 1916), Thackeray's Vanity Fair (Penguin; 1847), Emily Brontë's Wuthering Heights (Penguin; 1848), Dickens' David Copperfield (Penguin; 1849-50), Trollope's Barchester Towers (Penguin; 1857), Dickens' Our Mutual Friend (Penguin; 1964-65), George Eliot's Middlemarch (Norton; 1871-72), James' The Princess Casamassima (Penguin; 1886), and Conrad's The Secret Agent (Anchor; 1907). Please use the editions listed. We will study the novels in the order listed above. For students in the Honors English Program. (Hornback)
496. Honors Survey: Thesis and Comprehensive Examination.
Admission to the English Honors Program. (3). (Excl).
Section 002 – Thesis. This course is elected only by students writing a thesis in the English Honors Alternate Program. (McNamara)
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