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. (Excl). May not be repeated for credit.
Section 101. The object of this course: to get practice in the rudiments of writing poetry and short fiction. The student will write six poems and two short stories during the term and will have them critiqued orally and in writing by the professor and the other members of the class. The course offers beginners as well as more advanced writing students the opportunity to work with a practicing poet and fiction writer on improving their ability to use the English language as an instrument of clarity, precision, grace, and emotional and intellectual power. This is not a "do your own thing" way of spending Spring Term. Students who sign up should be will to carry out writing assignments and should plan on making this term a season of intensive absorption in the writing process. (Tillinghast)
Section 102. This will be a workshop in the writing of fiction, poetry, and drama, with the emphasis on fiction. During the first two weeks each member will write a short story of about 2,500 words, ten or twelve pages. Next will follow a week in the writing of about forty lines of verse, some in traditional forms, e.g., a sonnet. Next a week's assignment in stage drama or screenplay, to involve a treatment (summary) of the play and three pages of the actual writing. For the rest of the half term, students may write additional fiction, more poetry (with the instructor's permission), or complete their play. Text: probably Part II of the MICHIGAN QUARTERLY REVIEW issue on CONTEMPORARY AMERICAN FICTION. Grading by a modified contract system to be explained at the first class. (Creeth)
Descriptions for other sections of English 223 are available in the main English office, 7611 Haven Hall.
225. Argumentative Writing. English 125 or 167 or equivalent. (HU).
SECTION 104. This section of Argumentative Writing will be run in the Workshop mode – students meeting in small groups with the instructor (editor-in-chief) for purposes of reading, discussing and editing the essays of their peers. Once a week there will be the usual full class meetings to discuss work-in-progress and assigned professorial essays. The work load is a paper a week (3-4 pages on average) and active participation in workshop and class. (Schulze)
230. Introduction to Short Story and Novel. (HU).
Section 101. This introduction to prose fiction of various lengths will include Kate Chopin's THE AWAKENING, Hemingway's IN OUR TIME, Baldwin's SUNNY'S BLUES, and Margaret Laurence's A BIRD IN THE HOUSE. There will be a written exercise on each of these works, and perhaps a final examination. The class will rely heavily on discussion. (Powers)
Section 102. The emphasis in this section will be on the novel, for the extended experience it provides of taking the reader into the writer's world to participate with the artist in recreating that. We'll read Dickens' GREAT EXPECTATIONS, Dostoevsky's CRIME AND PUNISHMENT (two big nineteenth century novels), Chopin's THE AWAKENING, and Morrison's SULA. Also four stories by Chopin and one each by Hemingway and Faulkner. A bluebook, two 750 word essays and a two-essay take home final will establish a floor grade capable of being raised by excellence in a journal on the reading, quizzes, class participation. (Creeth)
Section 103. Readings of selected short stories will be alternated with readings of 4 or 5 novels chosen from the list: Austen, EMMA; Flaubert, MADAME BOVARY; Dickens, GREAT EXPECTATIONS; Hardy, THE MAYOR OF CASTERBRIDGE; Conrad, LORD JIM; Forster, A ROOM WITH A VIEW; Snow, THE MASTERS; Tyler, THE ACCIDENTAL TOURIST. There will be frequent short papers, a longer paper, a midterm, and a final exam. (English)
240. Introduction to Poetry. Prerequisite
for concentrators in the Regular Program and in Honors. (HU).
Section 101. This course, a prerequisite for concentrators in English, is an introduction to English and American poetry. In this section, students will read a wide variety of poems drawn from THE NORTON ANTHOLOGY OF POETRY. I shall be organizing the course according to poetic kinds of themes, working chronologically within each category. Occasional brief lectures will serve to direct and focus discussion, which will be the primary method of instruction. Student responsibilities in the course include the following: three or four in-class writing exercises, one or two oral reports, a long end-of-term essay, and a final examination. Regular class attendance is required, and each student's contribution to class discussion will be a factor in the assignment of grades. (Jensen)
Section 102. This course is a reading workshop, in which we will practice the kinds of analysis and appreciation that poetry invites. We will read a range of poems from different periods and consider the different aspects of the poet's craft: the uses of meter to give rhythm to speech, rhyme and alliteration, 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. The end of the term will be devoted to the work of two poets (Emily Dickinson and William Butler Yeats). Discussion format. Requirements include: regular attendance and participation, two papers (4-6 pages), and regular brief assignments. Texts will be ordered through Shaman Drum Bookshop, 313 S. State. (Garner)
Section 103. A course in how to enjoy and understand poetry. Poems from all periods of English and American literature will be studied. Textbook: WESTERN WIND, edited by John Frederick Nims. We will learn about the use of the image to make poetry concrete and immediate; the use of figures of speech to draw comparisons and to experience the subject matter in depth and in relation to other aspects of life; and the use of sound, rhythm, and other poetic devices that make poetry memorable. Brief quizzes will be given weekly; there will be a midterm and a final exam, as well as a short (3 page) and a long (10 page) paper. (Tillinghast)
Primarily for Juniors and Seniors
314. Topics in Literature Before 1800. (HU).
May be repeated for a total of 6 credits with department permission.
Section 101. In this section of English 314, we will study selected examples of the Elizabethan and Jacobean revenge play, including THE SPANISH TRAGEDY, HAMLET, THE MALCONTENT, A WOMAN KILLED WITH KINDNESS, BUSSY D'AMBOIS, and THE REVENGER'S TRAGEDY. Class will be conducted as a combination of informal lecture and discussion, and active participation is a basic requirement. There will be weekly quizzes and two essays of moderate length. (Mullaney)
317. Literature and Culture. (HU). May
be repeated for credit with department permission.
Section 102. This course is designed to provide students with opportunities to explore some of the connections between various literary kinds and other forms of artistic expression. We shall be looking at the sort of translating that occurs when plays are transformed into operas or novels or are made into films. We shall be reading poems that take their subjects from other art forms: drama, painting, sculpture. We shall be looking at musical compositions – song cycles, symphonic pieces, operas, and musical comedies – that have their origins in literary works. All the while, our concern will be equally with the particular works and with the theoretical issues that arise from our efforts to understand them. This is a course that will reflect students' interests, and the instructor makes no assumptions about previous training or course work in the subjects being considered. His hope, though, is that each student will bring a significant interest in forms of artistic expression other than those ordinarily studied in English classes and that each student will make the effort to stretch toward new interests. This is a discussion course that features a good many oral reports by students. Student grades will be determined on the following grounds: class participation, oral reports, one brief and one substantial essay, and a final exam. (Jensen)
Section 104. To what ends do great novelists write about murder? What are the effects when journalists use novelistic techniques to write about actual murders? Readings will include Dostoevsky's CRIME AND PUNISHMENT, Camus' THE STRANGER, Faulkner's LIGHT IN AUGUST, Capote's IN COLD BLOOD, and Mailer's THE EXECUTIONER'S SONG. There will be two exams, a midterm and a final; frequent "journals" will be required. Class will proceed by "interruptible" lecture. (Faller)
325. Intermediate Exposition. (HU).
Section 101. Participants in this course will write through and discuss two expository assignments per week, progressing from observations to arguments, concentrating on strong, concise language and logical structure of presentation. Early writings will be relatively brief; each writer's work will be critiqued in class once a week. Participants will be expected to provide copies of their work for each member of the class. No final exam but rather a folio of revised and new works will be required. (DePree)
355. Core I (Great English Books). (HU).
Section 101. A selection of works from the late Middle Ages through the Renaissance, e.g., THE CANTERBURY TALES, SIR GAWAIN AND THE GREEN KNIGHT, medieval plays, THE FAERIE QUEENE, poems by Donne, Herbert, and Marvell, VOLPONE, THE DUCHESS OF MALFI, PARADISE LOST. Mostly discussion, occasional lecturing, oral presentations by student panels; modest attempts at staging two of the plays. Frequent short papers, one longer paper, a midterm, and a final exam. (English)
Section 102. This course, the first of a three-part sequence required of concentrators (but open to non-concentrators), studies major works of the later Middle Ages through the Renaissance. Class will be conducted as a combination of brief informal lectures and discussion. Readings will include: Chaucer's CANTERBURY TALES (selections), SIR GAWAIN AND THE GREEN KNIGHT, Spencer's THE FAERIE QUEENE (selections), plays by Marlowe, Shakespeare and Jonson and Milton's PARADISE LOST. Requirements for the course are active participation, a midterm, two essays, and a final exam. (Mullaney)
356. Core II (Great English and American Books). (HU).
Section 101. 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)
Section 102. In this survey we shall analyze literary works in different genres written during the period 1700-1860. English Neoclassicism will be represented by readings in the poetry of Alexander Pope, as well as John Gay's THE BEGGAR'S OPERA and Jonathan Swift's GULLIVER'S TRAVELS. We shall then read selectively in the Romantic poets, especially Wordsworth and Keats, and study Emily Brontë's WUTHERING HEIGHTS as a congenial fiction of the period. Crossing the Atlantic, we shall consider prose by R.W. Emerson, the poetry of Walt Whitman, Frederick Douglass' autobiography, and some short fiction. These texts will be read in their historical context, some more than others. The format is lecture/discussion. Required work includes two papers, one midterm and one final examination. (Goldstein)
357. Core III (Great English and American Books). (HU).
Section 101. This is the third of three Core courses required of English concentrators but open to students interested in the best literature in English of the past hundred years. Readings will include James' "The Aspern Papers" (and perhaps "The Turn of the Screw"), Forster's HOWARDS END, Jean Toomer's CANE, O'Neill's DESIRE UNDER THE ELMS, Woolf's TO THE LIGHTHOUSE, and Faulkner's LIGHT IN AUGUST, with some representative poetry of the period. There will be some introductory lectures but the course will depend on informed class discussion. Students will write two or three essays and perhaps a final examination. (Powers)
Section 102. This course will treat central British and American writers from the mid-nineteenth to the twentieth century, examining the historical, intellectual, and cultural contexts they were part of, characteristic issues, styles, and techniques for each author, and some of the literary problems they tackled in selected major works. By way of close reading, we will study the thematic and artistic components of these works, taking them as examples of their genre as well as on their own terms. Our list of authors will include George Eliot (ADAM BEDE), Robert Browning, Emily Dickinson, Sarah Orne Jewett (THE COUNTRY OF THE POINTED FIRS AND OTHER STORIES), T.S. Eliot, James Joyce (A PORTRAIT OF THE ARTIST AS A YOUNG MAN), Ernest Hemingway (THE SUN ALSO RISES), and Zora Neale Hurston (THEIR EYES WERE WATCHING GOD). Aside from occasional lectures, class time will be spent in exploratory discussion of what we have read. Students will write two five-page papers, and take a final exam. (Maxson)
367. Shakespeare's Principal Plays. (HU).
A course in which we will read and study five plays by William Shakespeare: THE TAMING OF THE SHREW, THE MERCHANT OF VENICE, HAMLET, ALL'S WELL THAT ENDS WELL, and ANTONY AND CLEOPATRA. We will consider the following issues: historical and theatrical backgrounds, the development of poetic and dramatic technique, modes of characterization, gender and theatrical representation, comic and tragic form, notions of acting, performance possibilities and interpretations. Although our time is limited to seven weeks, we will put a premium on close reading, working to illuminate Shakespeare's dramatic texts in their particularity and complexity. Lecture/discussion format. Requirements include: regular attendance, one paper (5-7 pages), informal writing assignments, production critiques, and a final examination. Texts will be ordered through Shaman Drum Bookshop, 313 S. State. (Garner)
412/Film-Video 412. Major
Directors. (HU). May be repeated for credit with
Section 101. Alfred Hitchcock's career spanned a half-century of film making, from the silents to cinemascope. He created a distinctive body of work and succeeded, in his own words, in bringing "murder back into the home – where it belongs." His thrillers, with their ingenious plots, virtuosic cinematic devices, and probing analyses of human relations, have been frequently imitated, but rarely equaled. We will view a selection of his most important films, from THE LODGER to PSYCHO. There will be supplementary readings and an opportunity to view each film twice. Students will turn in viewing notes and take a midterm and a final exam. (McDougal)
417. Senior Seminar. Senior concentrator
in English. May not be repeated for credit. (Excl).
Section 101. This course constitutes a case study in the field of Literature and Technology. Because the automobile is a "Type of the Modern – emblem of motion and power" no less than Whitman's locomotive, it challenges imaginative writers to describe its history, identity, symbology, and impact on human culture. In this class we shall examine some of those responses. Though we will begin with Thomas De Quincey's essay, "The English Mail Coach" and Whitman's poems of the Open Road, we shall move quickly into the 20th century and examine essays, short stories, poems, and two novels on the subject, especially those that seek to mimic the consciousness created by automobility in their accelerated, disjointed form. Works of the Beat Generation will receive special attention, and from recent years, Mona Simpson's novel, ANYWHERE BUT HERE. Students will keep a journal, write two papers and take a midterm and a final examination. (Goldstein)
434. The Contemporary Novel. (HU).
This course will study the postmodern novel. We will work inductively from a variety of postmodern novels to see what they have in common that might characterize their own literary period, and how they are essentially different, if indeed they are, from those written earlier in the century. We will spend some time identifying those elements of postmodern culture that novelists respond to in their work, and judging what effect, if any, the gender of the author might have on that response. Needless to say, we will explore each novel, not only as a product of its time, but as a work of art in its own right. We will read the following works, not necessarily in this order: Garcia Marquez, LOVE IN THE TIME OF CHOLERA; Borges, FICCIONES; Gloria Naylor, LINDEN HILLS; Margaret Atwood, SURFACING; and Margaret Drabble, REALMS OF GOLD. Class time will be spent primarily on discussion of what we have read. Students will write two five-page papers and take a final exam. (Maxson)
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