Autumn 2001 200-level ENGL courses

Course Descriptions (as of September 21, 2001)
The following course descriptions have been written by individual instructors to provide more detailed information on specific section sthan that found in the General Catalog. When individual descriptions are not available, the General Catalog descriptions [in brackets] are used. (Although we try to have as accurate and complete information as possible, this schedule remains subject to change.)

200 A (Reading Literature)
Dy 8:30
Berte
(W)
Buying the American Dream. Work, success, power, career, money, materialism—they pave the road that leads to the white house, picket fence, manicured lawn, and two-car garage. In this course, we will take a literary, critical, and historical look at the dominance of these concepts in American society and their relationship to the American Dream. We will historicize the American Dream by tracing its evolution from archetypal texts like Ben Franklin’s “The Way to Wealth” and a Horatio Alger “rags to riches” novel, through literature of the late 19th century Gilded Age, the 1920’s Jazz Age, and the suburbanization of the dream in the 1950’s, to our contemporary notions of it. We will also explore the dialogue between this literary/historical evolution and contemporary cultural artifacts like advertisements and movies in order to analyze how the concepts related to “buying the dream” currently function in society. This course is designed to increase your confidence and facility as a reader and interpreter of literature; class discussion and writing assignments will provide opportunities for you to exercise and develop your interpretive skills. Assignments will include response papers, cultural artifact analyses, a longer paper, and a final exam. Texts: Horatio Alger, Ragged Dick; Thoedore Dreiser, Sister Carrie; James Weldon Johnson, The Autobiography of an Ex-Colored Man; Tomas Rivera, And the Earth Did Not Devour Him.

200 B (Reading Literature)
Dy 8:30
Goh
(W)
This is a survey course that will examine some of the rich variety of genres in English and American literature. We will examine Elizabethan drama and poetry, explore the rise of the novel in the eighteenth century and sample the drama and poetry of the twentieth century. The works of each period and genre that we examine will tell us something about the social and cultural forces that helped shape them. Literature is thus taken as both testimony and manifestation of social and cultural changes, or even of shifts in an entire civilization’s social motivations and philosophical directions. This approach will open up multiple avenues for us to sample current critical articles on literature and literary studies. There will be one short paper and two longer ones, as well as response papers for our readings. Class activities will include discussions, corroborative work that requires group consensus, as well as a debate centered on one of our readings. Text: Beaty, Bain & Hunter, The Norton Introduction to Literature.

200 C (Reading Literature)
Dy 9:30
Wallace
(W)
Literary Technologies. Recent technological advances—global media, biotechnology, and cyberspace—have reshaped the world in which we live. In this course, we will read contemporary works of literature that attempt to grapple with the pleasures and perils of these technological innovations. Because how a literary text “works” is as interesting and important as what it “says,” we will also consider how these texts are constructed (in terms of narrative conventions like form, imagery, characterization, and narration), and how they function to generate meaning. Texts: Don DeLillo, White Noise; William Gibson, Neuromancer; Octavia Butler, Dawn; Karen Tei Yamashita, Through the Arc of the Rainforest; photocopied course packet.

200D (Reading Literature)

Dy 12:30
Lundgren
(W)
[Techniques and practice in reading and enjoying literature. Examines some of the best works in English and American literature and considers such features of literary meaning as imagery, characterization, narration and patterning in sound and sense. Emphasis on literature as a source of pleasure and knowledge about human experience.] Texts: J. Paul Hunter, ed., The Norton Introduction to Poetry, 7th ed.; Joy Kogawa, Obasan; Judith Thompson, Lion in the Streets.

200 E (Reading Literature)
Dy 1:30
Joly
(W)
This course introduces literature from multi-cultural and multi-genre contexts. Critical and creative approaches to understanding our texts, which will prepare us to write and revise a contemporary essay, will be: discussions, collaborations, and informal in-class written assignments. Texts: John Okada, No-No Boy; Loida Maritza Perez, Geographies of Home; Sherman Alexie, The Summer of Black Widows; Anna Deavere Smith, Twilight: Los Angeles, 1992; David Hwang, M. Butterfly; Sandra Cisneros, House on Mango Street.

200F (Reading Literature)
Dy 2:30
Falsberg
(W)
In this course we will examine the ideological content of utopian fictions (the promise and perhaps unstated drawbacks of the societies they posit), as well as the literary techniques these works employ in order to hook their readers. After thoroughly grounding ourselves in Plato’s Republic, we will examine English and American takes on how a society might function, developing sensitivity to genre (Are we dealing with a travel report, a waking dream, a science fiction?), to gender issues (Do gender roles “star” in the work, or are they subordinated to other concerns?), and to aesthetics (Do these fictions exult or banish artists?). The work will be very hard, but exhilarating in proportion to your effort. You will develop close reading, writing, and argumentative skills, such that you have something of your own to reply, not only to the texts, but also to works and ideas that you take up in future courses. Too, reading these books (chosen because they are exciting as well as rich) and sharing your thoughts about them with others is just plain fun. At least one heated class argument per week is guaranteed! Class assignments include a series of writing exercises, a longer paper, and a self-reflective essay. A Group project will take on the wildly conflicting reviews of the course texts. Texts: Plato, The Republic; Thomas More, Utopia; William Morris, News from Nowhere; Madeleine L’Engle, A Wrinkle in Time; Sheri Tepper, The Gate to Women’s Country; and Irish Murchoch, Acastos: Two Platonic Dialogues.

207 A (Introduction to Cultural Studies)
Dy 12:30
Lindsey
Cultural Studies of the Globe. Do you envision yourself living on the globe? Are you more identified with the United States or with Earth? When you think about the world, do you see it from the perspective of a space ship? After we explore the definition of cultural studies and look at some examples of cultural studies texts, we will focus our attention towards the globe and globalization in the United States. What does it mean to be living in an era of globalization? Why were so many people mad about what the media referred to as “globalization” during the Seattle WTO riots and the Quebec FTAA conference? How does globalization function as both a cultural and economic phenomenon? What are the implications of this term? In order to perform our own “cultural study” of the globe and globalization, we will read novels, magazines, newspaper articles, watch news coverage of the WTO, and view several films. Texts: Yamashita, Through the Arc of the Rainforest; Ozeki, My Year of Meats.

210A (Literature of the Ancient World)
MW 8:30-10:20
McRae
This course is designed as an introduction to the life, literature and preoccupations of the ancient world. Within a cultural and historical context, we will compare the religious beliefs, political concerns and literary preoccupations of various ancient Mediterranean cultures: Greek, Roman, Egyptian, Sumerian, and early Judaism and Christianity. The thematic focus will be on themes of passion, poetry and wisdom. No majors, Registration Period 1. (Meets with 210B, which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: Ovid, The Metamorphoses; Barnard, ed., Sappho: A New Translation; The Bible (NRSV); Powell, Classical Myth; Wolkstein/Kramer, Inanna.

211 A (Medieval & Renaissance Literature)
Dy 10:30
Vaughan
This course will introduce students to major works that shaped the cultures of medieval and renaissance Europe. We will read and discuss a selection of the diverse literary and intellectual traditions of that period of more than a thousand years. One goal will be to show the variety of the cultures from Italy to Iceland, from about 500 AD to 1600. Grades will be based on participation in class discussion, weekly (more or less) short writing assignments, and a final essay exam. No majors, Registration Period 1. (Meets with 211B which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: Boethius, The Consolation of Philosophy; Kinsella, tr., The Tain; Dante Alighieri, Vita Nuova; Magnusson, tr., Njal’s Saga; Marie de France, Lais; Erasmus, The Praise of Folly; Shakespeare, Hamlet.

212 A (Literature of Enlightenment & Revolution)
MW 10:30-12:20
Keep
How does the Enlightenment define “happiness”? Over the course of the quarter, we will conceptualize the “pursuit of Happiness”—an inalienable right, according to the American Declaration of Independence. Our inquiry will explore contemporary literary representations of happiness. We will also examine imagined obstacles to happiness, as we consider the ethical dynamics of the literary texts in question. Readings include a range of English, French and American works: Pope’s Essay on Man (1733), Johnson’s Rasselas (1759), Voltaire’s Candide (1759), Diderot’s Supplement to Bougainville’s Voyage (1772), Crèvecoeur’s Letters from an American Farmer (1782), and Franklin’s Autobiography (1784-). In addition to regular reading and discussion, students will engage in collaborative research projects and panel presentations. No majors, Registration Period 1.

212 B (Literature of Enlightenment & Revolution)
TTh 12:30-2:20
Olsen
[Introduction to literature from a broadly cultural point of view, focusing on major works that have shaped the development of literary and intellectual traditions from the Middle Ages to the eighteenth century.] No majors, Registration Period 1. (Meets with ENGL 212C, which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.)

213 A (Modern & Postmodern Literature)
TTh 8:30-10:20
Linder
What do a Xerox machine and postmodern fiction have in common? Why could we offer the image of the starving artist for modernism? How did we get from the view of art offered at the Armory Show of 1913 to that presented in Ridley Scott’s vision of Blade Runner in 1982? ENGL 213 attempts to answer these and related questions by focusing on the stylistic and broader cultural concerns of a series of 20th-century novels and stories. In our exploration of the relation between modernism and postmodernism, we’ll supplement our look at twentieth-century American fiction with examples from art, political speeches, and legal documents. Comparing modernism to postmodernism, we’ll work from three fundamental questions: what message(s) are these texts presenting to the reader, how are they presenting that message, and why would that message have been important at that particular moment in American history? No majors, Registration Period 1. (Meets with 213B which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: DeLillo, White Noise; Gibson, Neuromancer; Pynchon, The Crying of Lot 49; Faulkner, Absalom, Absalom!; West, Miss Lonelyhearts & The Day of the Locust.

213 C (Modern & Postmodern Literature)
Dy 1:30
Fischel
In this course, we will explore the theme of "Aliens in the American Landscape." Throughout the century, politicians and social commentators have evoked the sentimental rhetoric of protecting "the American way of life." Yet there has never been a firm definition of this "way of life" nor of the perceived threats against it--threats often vaguely figured as aliens, those who are not one of "us." Through the course readings and media selections, we will examine 20th-century American culture and its evolving definitions of the "American way of life." Guiding our examination will be the following key questions: 1) Which social groups have claimed the power to define "American"? 2) Which groups have been granted access to the "American way of Life" and which have been figured as aliens? 3) In what ways have aliens both experienced oppression AND demonstrated the agency to challenge and change our notion of what it means to be American? No majors, Registration Period 1. Texts: Sui Sin Far, Mrs. Spring Fragrance and Other Writings; ANzia Yezierska, Breadgivers; Nella Larsen, An Intemiation of Thigns Distant: The Collected Fiction of Nella Larsen; Edwidge Danticat, Breath, Eyes, Memory; Maxine Hong Kingston, Woman Warrior.

225 A (Shakespeare)
MW 10:30-12:20
Ettari
(W)
This course is designed to introduce students to Shakespeare’s works and the particular culture in which he lived and wrote. Through written assignments, lecture, classroom discussion and performance, we will work to understand why Shakespeare is generally considered to be one of the most important figures in the canon of Western literature (if not the most important). To make our critical understanding of Shakespeare as rich and complex as possible, we will employ a variety of approaches to his work, including closely examining his prosody, cultivating an awareness of his use of imagery, understanding how his cultural sphere may have influenced his approach to play writing, and analyzing the strategies he uses in order to develop characters that are endowed with an extraordinary psychological depth that has been noted by critics, play-goers and students alike for four hundred years. We will begin by reading selected sonnets and then proceed to the plays, reading one from each genre: Twelfth Night, a comedy; Hamlet, a tragedy, 1 Henry IV, a history; and The Winter’s Tale, a romance. All students are required to participate daily in discussion and there will be short response papers assigned weekly as well as a midterm exam, a final and a required performance.

225 B (Shakespeare)
Dy 11:30
Fogerty
(W)
In this course we will examine Shakespeare’s career as a dramatist; importantly this means that in addition to learning how to be astute readers of Shakespeare, we will be focusing on his works as performance texts intended for actors and the stage. Students will be required to perform in class (participation is required, acting talent is not), and we will consider clips of various film and television versions of the plays. In addition, students will attend a local performance. There will be several papers, an in-class performance, a mid-term, and a final. Text: Greenblatt, ed., The Norton Shakespeare.

228 A (English Literary Culture: To 1600)
MW 8:30-10:20
Remley
The course will provide a lively and wide-ranging introduction to the literature of the Middle Ages and Renaissance, an introduction that will endeavor to place texts remote from our modern era in their social and historical contexts. For this iteration of the course, an emphasis will be placed on the fictional “universe” of the women and men of Arthur’s court. Students will read and discuss important works of prose and poetry of the early Middle Ages and the Middle English periods, including works by a range of Anglo-Saxon poets, Sir Gawain and the Green Knight, and a selection of non-canonical items. There will be a mid-term, final, and major term paper. No majors, Registration Period 1. (Meets with 228B which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: Hamer, ed., A Choice of Anglo-Saxon Verse; Geoffrey of Monmouth, The History of the Kings of Britain (Thorpe, tr.); Marie de France, Lais (Hanning & Ferrante, tr.); Brian Stone, tr., King Arthur’s Death.

229A (English Literary Culture: 1600-1800)
MW 10:30-12:20
Lockwood
A survey of English literature from the death of Shakespeare to the beginning of the Romantic movement. We will be reading plays, prose, and poetry chosen to show the range and creative force of the written word in the 17th and 18th centuries, from the cosmic drama of Paradise Lost, to the cheerful small-time crooks of The Beggar’s Opera. Major authors covered include Donne, Milton, Swift, Pope, Johnson, with less traditional others like Dorothy Osborne, Mary Astell, Aphra Behn, and Frances Burney. Emphasis on careful critical reading for understanding and enjoyment of this literature in its social and cultural context. Weekly reading responses, two critical papers with revision, mid-term, final. No majors, Registration Period 1. (Meets with 229B which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: Norton Anthology of English Literature, 7th ed., Vols. 1B and 1C.

230 A (English Literary Culture: After 1800)
MW 12:30-2:20
Buck
This class offers an introductory survey of British literature from the early nineteenth century to the beginning of the twentieth, covering the Romantic, Victorian and Modernist periods. We will consider questions of colonialism, individualism and industrialization in the context of the rapidly changing cultural, political and social landscape of Britain as it emerges into modernity. We will also address the aesthetic and intellectual movements that informed much of the literature, with particular emphasis on understanding how nineteenth-century culture has shaped our own ideas of the “modern.” Students will read widely from selected fiction, non-fiction, drama and poetry by writers like William Blake, the Brontës, Dickens and T. S. Eliot. Requirements include a midterm and final exam, as well as a short critical essay. No majors, Registration Period 1. (Meets with 230B which represents 5 spaces reserved for new transfer students; add codes in English Advising, A-2-B Padelford.) Texts: Abrams, et al., eds., The Norton Anthology of English Literature, Vol. 2 (7th ed.); Emily Bronte, Wuthering Heights.

242 A (Reading Fiction)
Dy 8:30
Ganter
(W)
Postmodernism and Fiction. In her book, A World of Difference, the literary and cultural critic Barbara Johnson argues that “[n]othing could be more comforting to the established order than the requirement that everything be assigned a clear meaning or stand.” Postmodern novels, poems, films, music, body-art, cartoons and World Wide Web chat-rooms all celebrate this notion and as a result are often viewed as parodying and undermining the very idea of communication itself. While many critics have focused dismissively on this formal principle of postmodern fictions, fewer have seriously investigated the implications of this statement for a “politics of reading.” They have overlooked the ways in which the avoidance of a “clear meaning or stand” is both a theory of reading and a theory of politics. This course will foreground the concepts of performance and cyber-fiction as some of the most recent global manifestations of postmodernist culture. We will focus particular attention on narrative structure in order to analyze the ways in which narrative takes part in the construction of history. Texts: Stephen Baker, The Fiction of Postmodernity; Larry McCaffery, ed., Avant-Pop: Fiction for a Daydream Nation; Don DeLillo, The Body Artist; Jessica Hagedorn, Dogeaters; Donald Barthelme, The Dead Father; William Gibson and Bruce Sterling, The Difference Engine; film: Requiem for A Dream.

242 B (Reading Fiction)
Dy 9:30
Walker
(W)
"We Thought This Would Be A Lot Funnier": Contemporary Fiction and the Comic Spirit. First a disclaimer, from E. B. White: "Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind." This course will examine a wide range of comic (or arguably comic) documents, paying special attention to those works that challenge us, that push us into uncomfortable places. We'll discuss comedy as a form of misdirection and as a means of disturbance; we'll find that laughs and gasps sound a lot alike. We'll test the following observation, from W. C. Fields: "I never saw anything funny that wasn't terrible." Texts: Diana Darling, The Painted Alphabet; Lorrie Moore, Birds of America; Art Spiegelman, Maus, A Survivor's Tale: My Father Bleeds History / Here My Troubles Began; Michael J. Rosen, ed., Mirth of a Nation: The Best Contemporary Humor; David Foster Wallace, Brief Interviews with Hideous Men.

242 C (Reading Fiction)
Dy 12:30
Rivera
(W)
How to Tell a War Story. This course will examine the challenges of representing war in twentieth-century American fiction. If, as Faulkner suggests, "memory believes bfore knowing remembers," how are we to read war narratives? We will read novels by Morrison, Spiegelman, O'Brien, and Ondaatje and a small course packet of non-fiction, as we examine the struggles and questions that arise when writers attempt to represent the unrepresentable and forget the unforgettable. Texts: Spiegelman, Maus, A Survivor's Tale/ My Father Bleeds History/ Here My Troubles Began (ppbk boxed edition); Morrison, Beloved; Ondaatje, The English Patient; O'Brien, The Things They Carried; photocopied course packet.

242 D (Reading Fiction)
Dy 1:30
Caruso
(W)
This introduction to the study of fiction will focus on J.R.R. Tolkien’s Lord of the Rings as its primary literary work. Supplementary materials will offer various critical lenses through which LotR (and other works of fiction) may be analyzed. Approaches will range from medievalist perspectives, through textual and historical issues, and finally to questions raised by film and cultural studies. Although this is a writing course, the reading load will be substantial (if fun), so students should be prepared. Yes, we will read the entire trilogy. Texts: Tolkien, Lord of the Rings; photocopied course packet.

250 A (Introduction to American Literature)
Patterson
Lecture: MW 8:30-9:20
Quizzes: MW 9:30; TTh 8:30; TTh 9:30
[Survey of the major writers, modes, and themes in American literature, from the beginnings to the present. Specific readings vary, but often included are: Taylor, Edwards, Franklin, Poe, Hawthorne, Melville, Emerson, Thoreau, Whitman, Dickinson, Twain, James, Eliot, Stevens, O’Neill, Faulkner, Hemingway, Ellison, and Bellow.] No majors, Registration Period 1 (Quizzes: MW 9:30; TTh 8:30; TTh 9:30) Texts: Benjamin Franklin, Autobiography and Other Writings; Susanna Rowson, Charlotte Temple; Art Spiegelman, Maus, Vol. 1; F. Scott Fitzgerald, The Great Gatsby; Harriet Jacobs, Incidents in the Life....; Edith Wharton, House of Mirth; Nella Larsen, Passing; John Okada, No-No Boy.

258 A (African-American Literature: 1745-Present)
TTh 9:30-11:20
Ralston
As the title indicates, this course is a survey, which means that it is an overview. African American literature of the United States begins in the 17th century with the oral tradition and continues today as we enter the21st century. This is a diverse and demanding literary history, one that requires a certain dedication. The purpose of this course is to introduce you to African American literature and to help you understand its content, form, and aesthetic development so that when you encounter contemporary African American literature or literature that we have not studied in class, you will have a basis for understanding it, growing through it, and enjoying it. Unfortunately, we are challenged by the short time we have together. Evaluation by weekly quizzes and or written responses, and two essays. Offered jointly with AFRAM 214. Text: Gates, et al., Norton Anthology of African American Literature.

281 A (Intermediate Expository Writing)
MWF 8:30
Merola
Seeking: Narratives of Adventure, Exploration, and Discovery. English 281 is an intermediate expository writing course: its primary emphasis is to provide time and opportunity for you to refine and polish writing skills you already possess. The course assumes a basic level of writing competence-the ability to construct a powerful claim, to organize ideas into coherent paragraphs, to present a sustained and interesting argument. The aim of this course is to help you extend those skills, develop your analytical prowess, and produce more sophisticated and stylistically adroit writing. To this end you will read and respond to texts--critical and historical articles, poems, nonfiction prose, and a photographic exhibit--and you will write almost constantly--informal responses, directed responses, and critical papers. Critical papers will go through a revision cycle, designed to help you better understand how to construct your own essays and critique those of your peers. This section of 281 takes the adventure narrative genre, broadly conceived, as the occasion for sustained reflection. After an introduction to the conventions of the adventure narrative, the first part of the course will focus on polar exploration. Texts for this section include historical articles on polar exploration; What the Ice Gets, which is a long poem about Ernest Shackleton's 1914-1916 Antarctic expedition; and a visit to the Burke Museum's exhibit on the Shackleton expedition. The second section of the course will focus on mountaineering. Texts for this section include critical articles on the history of mountaineering; John Krakauer's "Into Thin Air" article from Outside magazine; Bruce Barcott's The Measure of a Mountain; and Marianne Moore's poem "An Octopus." Throughout the quarter we will interrogate the concept of adventure and the conventions of adventure narratives and examine how adventure intertwines with other concepts such as masculinity and imperialism. (No freshmen Registration Periods 1 & 2.) Texts: David Rosenwasser, Writing Analytically; Bruce Barcott, The Measure of a Mountain: Beauty and Terror on Mount Rainier; Melinda Mueller, What the Ice Gets: Shackleton's Antarctic Expedition, 1914-1916.

281 B (Intermediate Expository Writing)
MWF 8:30
Goss
This course will use critical reading of challenging texts to extend your academic writing skills into more complex arguments as well as into a variety of types of writing. The topic we’ll explore this quarter is metaphor: we’ll look at how metaphors infiltrate—some people would say infect—everything we say and write, and is not the special gift of the poet. You’ll write three longer essays to develop your analytical, critical, and research skills. The shorter assignments will introduce you to the genres of abstracts and reviews. Recommended preparation: An interest in language. Confidence in your basic expository writing ability, and the desire to improve your writing skills so you may engage with more sophisticated texts and enjoy more sophisticated critical thinking. Class assignments and grading: The majority of your grade will be based on the writing you do, but you will also be graded on group assignments such as writing workshops and presentations. (No freshmen Registration Periods 1 & 2.) Text: photocopied course packet.

281 C (Intermediate Expository Writing)
MWF 9:30
Browning
Writing for the Web. This course focuses on the argumentative possibilities of digital writing. Students will analyze and work with the rhetorical elements of hypertext, especially as found on the World Wide Web, and consider social, political and cultural issues associated with this new form of textuality. All major writing assignments are submitted in the form of Web pages and sites. (No freshmen Registration Periods 1 & 2.) Texts: Musciano & Kennedy, HTML & XHTML: The Definitive Guide, 4th ed.

281 D (Intermediate Expository Writing)
MWF 12:30
Merola
Seeking: Narratives of Adventure, Exploration, and Discovery. English 281 is an intermediate expository writing course: its primary emphasis is to provide time and opportunity for you to refine and polish writing skills you already possess. The course assumes a basic level of writing competence-the ability to construct a powerful claim, to organize ideas into coherent paragraphs, to present a sustained and interesting argument. The aim of this course is to help you extend those skills, develop your analytical prowess, and produce more sophisticated and stylistically adroit writing. To this end you will read and respond to texts--critical and historical articles, poems, nonfiction prose, and a photographic exhibit--and you will write almost constantly--informal responses, directed responses, and critical papers. Critical papers will go through a revision cycle, designed to help you better understand how to construct your own essays and critique those of your peers. This section of 281 takes the adventure narrative genre, broadly conceived, as the occasion for sustained reflection. After an introduction to the conventions of the adventure narrative, the first part of the course will focus on polar exploration. Texts for this section include historical articles on polar exploration; What the Ice Gets, which is a long poem about Ernest Shackleton's 1914-1916 Antarctic expedition; and a visit to the Burke Museum's exhibit on the Shackleton expedition. The second section of the course will focus on mountaineering. Texts for this section include critical articles on the history of mountaineering; John Krakauer's "Into Thin Air" article from Outside magazine; Bruce Barcott's The Measure of a Mountain; and Marianne Moore's poem "An Octopus." Throughout the quarter we will interrogate the concept of adventure and the conventions of adventure narratives and examine how adventure intertwines with other concepts such as masculinity and imperialism. (No freshmen Registration Periods 1 & 2.) Texts: David Rosenwasser, Writing Analytically; Bruce Barcott, The Measure of a Mountain: Beauty and Terror on Mount Rainier; Melinda Mueller, What the Ice Gets: Shackleton's Antarctic Expedition, 1914-1916.

281 E (Intermediate Expository Writing)
MWF 1:30
--Withdrawn 8/7--

281 F (Intermediate Expository Writing)
MWF 2:30
Plevin
This writing course will explore the complex and shifting relationship we have with “nature,” indeed, even how we define it. There will be opportunities to write from personal experience in addition to composing more analytical papers. Students will be able to connect their writing with other disciplines as they explore how humans interact with the natural environment. For those interested, there will be a service learning component. No freshmen, Registration Pd. 1 Texts: William Cronon, Uncommon Ground: Toward Reinventing Nature; Joseph M. Williams, Style: Ten Lessons in Clarity and Grace, 5th ed.

283 A (Beginning Verse Writing)
MW 11:30-12:50
Matsumoto-Maxfield
[Intensive study of the ways and means of making a poem.] (Majors only, Registration Period 1; no freshmen Registration Periods 1 & 2.) Text: photocopied course packet.

283 B (Beginning Verse Writing)
TTh 9:30-10:50
Halverson
[Intensive study of the ways and means of making a poem.] (Majors only, Registration Period 1; no freshmen Registration Periods 1 & 2.) No texts.

284 A (Beginning Short Story Writing)
MW 11:30-12:50
Dunckley
[Introduction to the theory and practice of writing the short story.] (Majors only, Registration Period 1; no freshmen Registration Periods 1 & 2.) Text (optional): Natalie Goldberg, Wild Mind: Living the Writer's Life.

284 B (Beginning Short Story Writing)
TTh 9:30-10:50
Min
[Introduction to the theory and practice of writing the short story.] (Majors only, Registration Period 1; no freshmen Registration Periods 1 & 2.) Texts: Checkoway, ed., Creating Fiction; photocopied course packet.

AUTUMN 2001 200-Level Courses

AUTUMN 2001
200-Level Courses