Course Descriptions (as of February 1, 2000)
The following course descriptions have been written by individual instructors to provide more detailed information on specific sections than 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)
In this course we will examine what it means when we distinguish “literary” uses of language from “ordinary” or “everyday” uses. We will explore what we do when we read “literature” and how those practices are not as self-contained as they might initially seem. The texts we read will cover a wide range, from poetry to experimental prose, from different countries and a number of time periods. This course is also a writing course, and the writing assignments will range from literary interpretation to literary experimentation. This course description is necessarily brief: I’m looking forward to teaching this course, and expect that if you take it, you will approach it with enthusiasm and a willingness to play along and sometimes take a few risks. Texts: Scholes, et al., eds., Text Book: An Introduction to Literary Language, 2nd ed.; Calvino, If On A Wiinter’s Night A Traveler.
200 B (Reading Literature)
This course is designed to emphasize the pleasures and difficulties of reading contemporary American fiction. Thematically, the novels share an obsession with sex, violence and glorious failure in the land of plenty. OK, that may be a stretch – but they are all great reads. Texts: Frederick Exley, A Fan’s Notes; Annie E. Proulx, The Shipping News; Cormac McCarthy, Blood Meridian; Vladimir Nabokov, Lolita.
200 C (Reading Literature)
200 D (Reading Literature)
This course is an introduction to reading and writing about literature for students of all disciplines. Most reading in college demands speed and efficiency: hunting for and digesting main concepts. In this class, we will slow down our reading, considering carefully what we read, thoughtfully responding to it, becoming attuned to the nuance and complexity of literary language. We will pay attention not only to what a text says, but how it says what it says, why it says what it says, and what we think about what it says. The reading load is lighter than many literature surveys, but there will be frequent writing assignments, including short response papers, study questions, and in-class writings. The course begins with poetry. We will read a selection of poems and gain familiarity with poetic terms and techniques. We’ll then move to short stories, applying our close reading skills to narrative and examining the formal features of fiction. We’ll end the quarter by reading Jeanette Winterson’s Oranges Are Not the Only Fruit, and Toni Morrison’s Beloved. Texts: David Madden, ed., A Pocketful of Poems; Winterson, Oranges Are Not the Only Fruit; Morrison, Beloved.
200 E (Reading Literature)
200 U (Reading Literature)
TTh 7-8:50 pm
This course is designed to introduce students from all disciplines to the pleasures and challenges of reading literature critically. Our primary focus will be on learning to analyze and interpret literary texts with curiosity and intelligence, using literary-critical terms and concepts to help you talk and write about literature with greater confidence and precision. But instead of approaching literature as a self-contained set of “great works” that you need to learn to interpret correctly, the goal of our analysis will be to investigate what makes a text “literary,” and how literary texts are both different from and connected to the various other kinds of texts that surround us in everyday life. We’ll therefore be reading a few “nonliterary” texts in addition to a broad selection of short stories and poems. Course assignments will include a reading journal, weekly short writing assignments, two longer essays and a take-home exam. Texts: Charters, The Story and its Writer (5th ed.); Scholes, et al., Text Book: An Introduction to Literary Language; photocopied course packet.
207 A (Introduction to Cultural Studies)
Tragic Narratives. Finally, a class where your melancholy improves your marks! Do you enjoy a good mope? Do you get maudlin with Morrisey, or sing the blues with Janice Joplin and John Lee Hooker? Does Hamlet’s doomed exploration of existence intrigue you? Does a Woody Allen tragicomedy make you laugh, squirm, or both? As an introduction to cultural studies, we will learn how to examine literature, film, TV, music, art and other cultural artifacts to find common themes and explore formal differences. Students will write both tragic/tragicomic narratives of their own, and critical responses to material studied in class. Course reading includes drama from Shakespeare (Hamlet) and Sophocles (Oedipus Rex), poetry from Sylvia Plath, Audre Lourde, and Pierre Paulo Pasolini, philosophy from Albert Camus and Orlan, theory from Aristotle, short fiction from Harvey Swados, Franz Kafka and others. For the most part the reading will tend towards short, but important examples from the broad dialog of and about tragedy and tragicomedy. At least half our time will be spent looking at other forms of tragic narratives from a plethora of films (including Crimes and Misdemeanors, Happiness, Charly, Freaks, and Sick), TV programming (including an episode of The Simpsons and the E! Hollywood True Story of Herve Villachaize), and various musicians, performers and artists. Course requirements are one midterm paper, one final paper, in-class writing, weekly one-page reading responses, and one brief collaborative oral report. Innovation, non-standard responses, and creative work are strongly encouraged in the written assignments and class discussions. Texts: Shakespeare, Hamlet; Kate Chopin, The Awakening; Arthur Miller, Death of a Salesman; photocopied course packet.
210 A (Literature of the Ancient World)
This course provides an introduction to the literature of antiquity, with a focus on texts produced in the Mediterranean region between 1300 B.C. and 397 A.D. We will commence with The Epic of Gilgamesh and conclude with the Confessions of St. Augustine. As we go, we will investigate perennial questions, asking if texts show concern with the idea of the quest (questions of meaning), with matters of the soul (human questions), and with the relationship of the individual to the state (social questions). We will also ask aesthetic questions: for example, can a philosophical dialogue be poetic?, and questions concerning audience: what was the readership for the ancient “novels?” The texts coming under our intense scrutiny will be Egyptian and Hebrew poetry, The Book of Job, Sappho’s lyrics, the Apology and the Symposium of Plato, parts of Vergil’s Aeneid, selections from the Metamorphoses of Ovid, a snippet of Petronius’s Satyricon, and The Golden Ass by Apuleius. The course requires quite a bit of reading, and class participation is essential. Work consists of two 4-6 page papers, a portfolio of 1-2 pp. response papers, and a final examination. Non-majors only, Registration Period 1. For spaces for new transfer students only, see ENGL 210B below. Texts: Mack, et al., The Norton Anthology of World Masterpieces, Vol. 1, expanded edition; Plato, The Symposium (tr. Hamilton); Apuleius, The Golden Ass (tr. Walsh).
210B (Literature of the Ancient World)
Meets with 210A above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; firstname.lastname@example.org.
211 A (Medieval and Renaissance Literature)
In this course we will be reading a variety of works (poems, plays, and tales) from the Medieval period through the Renaissance. Some of these works will seem very strange to us, other more familiar. One of the tasks for the quarter will be to explore the strangeness of some works and the seeming familiarity of others. We will read plays by the tenth-century Saxon nun Hrotsvitha, medieval mystery plays, sonnets, Sidney’s Defense of Poesy, and works by Marlowe and Jonson, among others. Much of our work will consist of in-class discussion of the texts we read, but we will also engage the texts through frequent writing of formal essays as well as smaller daily written assignments. Non-majors only, Registration Period 1. (For space reserved for new transfer students only, see ENGL 211B below.) Texts: Abrams, et al., eds., The Norton Anthology of English Literature, Vol. 1 (7th ed.).
211 B (Medieval and Renaissance Literature)
Meets with 211A above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; email@example.com.
212 A (Literature of Enlightenment and Revolution)
Reading to learn, learning to read. This course will introduce students to literature of 18th- and 19th-century Europe with special attention paid to changing ideas of the social and the self, the rise of a mercantile middle class, and the continuing development of democratic societies. Students will experience texts by Pope, Swift, Voltaire, Goethe, Wordsworth, and others. Non-majors only, Registration Period 1. (For space reserved for new transfer students only, see ENGL 212C below.) Texts: Mack, et al., eds., Norton Anthology of World Masterpieces, Vol. 2 (7th ed.); Swift, Gulliver’s Travels; Pope, Essay on Man.
212 B (Literature of Enlightenment and Revolution)
This is a rigourous introductory course examining literary representations of the major ideas and ideologies connected to the Age of Reason, the Romantic Period, and the early industrial revolution. Writers of the 18th and early 19th century took on “big” questions: What is the nature of God? Can humans know and understand the world? What is the best way to organize society? What is the position of the individual in society, and what is the position of the individual in the universe? What should our relationship to nature be? What is the role of imagination? What does it mean to be a man/woman/human? Though we will consider texts in terms of their cultural, historical, and philosophical context, our emphasis will be on learning to read closely and to interpret literary texts. Course requirements include: demanding (and rewarding) reading of primary and secondary texts, regular reading quizzes, response papers, formal essays, an in-class essay midterm, library research, individual presentations, a final essay, and intelligent and active participation. Expect the class to be a combination of lecture and class discussion. Sophomores only, Registration Period 1; non-majors only, Registration Period I. Texts: Alexander Pope, Essay On Man and Other Poems; David Hume, Dialogues Concerning Natural Religion; Jonathan Swift, Gulliver’s Travels; Mary Shelley, Frankenstein; Wordsworth and Coleridge, Lyrical Ballads; Jane Austen, Sense and Sensibility; Mary Wollstonecraft, Vindication of the Rights of Women; Samuel Johnson, The History of Rasselas; photocopied course packet.
212 C (Literature of Enlightenment and Revolution)
Meets with 212A above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; firstname.lastname@example.org.
213 A (Modern & Postmodern Literature)
[Introduction to twentieth-century literature from a broadly cultural point of view, focusing on representative works that illustrate literary and intellectual developments since 1900.] Non-majors only, Registration Period 1. Texts: Michael Cunningham, The Hours; Virginia Woolf, Mrs. Dalloway; H.D., HERmione; Roland Barthes, A Lover’s Discourse: Fragments; Jeanette Winterson, Written on the Body; D. H. Lawrence, The Man Who Died.
213 B (Modern & Postmodern Literature)
This class will consider how issues of race, nation, gender, class and sexuality get articulated in mostly North American texts from modernity to postmodernity. We will maintain a special focus on how identity is linked to history, and how history is evoked differently in both eras. Non-majors only, Registration Period 1. For spaces for new transfer students only, see ENGL 213C below. Texts:Ernest Hemingway, The Sun Also Rises; Meridel Le Sueur, The Girl; Nella Larsen, Passing; Joy Kogawa, Obasan; Toni Morrison, Beloved; Michael Ondaatje, The English Patient.
213 C (Modern & Postmodern Literature)
Meets with 213B above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; email@example.com.
225 A (Shakespeare)
This course surveys representative texts from Shakespeare’s career as a poet and dramatist. We will begin with the sonnets and then turn to the plays, reading one from each genre: Much Ado About Nothing, a comedy; Henry V, a history; King Lear, a tragedy; and The Tempest, a romance. The course goal is to gain a critical understanding of the texts in question through close reading and investigation of Shakespeare’s valuable historical and cultural contexts. In addition, discussion, lecture and other classroom exercises are shaped to foster ways to experience the aesthetic pleasure of both the literature’s rich content and varied forms. Therefore, the course will explore diverse topics in and surrounding the poems and plays including, but not limited to, the peculiarities of the period’s literary language, the period’s shifting views on social order; issues of sexuality, gender and race; theatre architecture and audience behavior, now and then; current academic theoretical trends; problems of sensory imagery; and the basics of prosody. All students are required to perform memorized parts in a performance group that meets throughout the quarter. Also required: discussion, secondary readings, papers, and quizzes, including a final exam. Class meets five days per week. Text: Bevington, ed., The Complete Works of Shakespeare (updated 4th ed.).
229 A (English Literary Culture: 1600-1800)
In this course we will explore the concept of “authority” through a survey of representative 17th- and 18th-century British texts. During this time period in England, old authorities—the church, the crown—were slowly giving way to new—science, the private family, the individual. We will begin with reading large parts of Milton’s Paradise Lost, written shortly after the death of the Commonwealth and the restoration of King Charles II. However, we will not be concerned only with political authority; we will also explore changing ideas of personal, literary, moral, familial and professional authority. Keep in mind that this is not a black-and-white issue: often the texts will present us with ambivalent ideas about the location of true authority, and often different kidns of authority will be addressed in texts which may or may not see the relationships between them. Part of our goal will be to address the multifaceted nuances of the concept of authority in Britain at this time. Non-majors only, Registration Period 1. (For spaces reserved for new transfer students only, see ENGL 229C below.) Texts: .Robert De Maria, Jr., ed., British Literature 1640-1789: An Anthology; Frances Burney, Evelina; photocopied course packet.
229 B (English Literary Culture: 1600-1800)
This will be a reading course focused on selected literary texts from the period 1600-1800. We will spend some time placing our readings in historical contexts and examining larger issues such as "authority," the "proper estate" ofwomen, and European contact with the New World, as these are borne out in literary texts of the period. The main focus of the course, however, will be close-reading, and learning how best to read the work of this incredibly rich and changing period. Sophomores only, Registration Period 1; Non-majors only, Registration Period 1. Texts: Abrams, et al., Norton Anthology of English Literature, Vol. 1, 7th ed.; Shakespeare, The Tempest.
229 C (English Literary Culture: 1600-1800)
Meets with 229A above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; firstname.lastname@example.org.
230 A (English Literary Culture: After 1800)
This course is a survey of British literature written from 1789-1918, with particular attention to the idea of literary “movements” and to those periods categorized under the rubrics of “Romanticism,” “Victorianism,” and “Modernism.” In all cases, we will be interested in the relationship among literature, geography, and culture. Course requirements will include several short response papers, a discussion partnership, and a final examination. Non-majors only, Registration Period 1. Text: Longman Anthology of British Literature, Vol. 2.
230 B (English Literary Culture: After 1800)
[British literature in the 19th and 20th centuries. Study of literature in its cultural context, with attention to changes in form, content, and style.] Non-majors only, Registration Period 1. For spaces for new transfer students only, see ENGL 230C below. Texts: Elizabeth Gaskell, Mary Barton: A Tale of Manchester Life; Rudyard Kipling, Gunga Din and Other Favorites; George Bernard Shaw, Pygmalion; Virginia Woolf, A Room of One’s Own; Candace Ward, ed., World War I British Poets: Brooke, Owen, Sassoon, Rosenberg and Others.
230 C (English Literary Culture: After 1800)
Meets with 230B above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; email@example.com.
242 A (Reading Fiction)
(W; Service Learning)
All in the Family. This introductory reading fiction course will use literary and community sites, in conjunction with historical and legal documents, to explore how family and community are represented in 1950s and 1990s America. This course has a Service Learning component of approximately 20 hours of service or research as part of the regular class work for the quarter. Placements at service-learning sites will be set up through the Carlson Center and will involve family and community-oriented sites in the Seattle area. Your service learning sites will provide opportunities for you to explore and interrogate representations of family and community outside the literary or academic setting. The experiences you have in the community are integral to this course. You will discuss and write about them, both as discrete occurrences and in juxtaposition with the literary texts. Through close reading; discussing and using literary vocabulary; thinking about the relationship between form and content in literary works; asserting that works of literature contain their own arguments and perform specific kinds of cultural work; viewing the literary, historical, legal, and community as in dialogue with each other; considering the importance of situating literature in its historical context, this course will help you develop your analytical reading skills. It should also make you more responsive to the world outside the academy, as you consider how, when, and in what ways the things you learn in the classroom filter beyond its walls. Writing requirements include a reading and community site journal, weekly close reading or response papers, occasional short answer assignments, one 8-10 page paper. This course will be evaluated using a portfolio system. Texts: Russell Banks, The Sweet Hereafter (1991); Don DeLillo, “October 8, 1957” (from Underworld, 1997); Randall Keenan, A Visitation of Spirits (1989); Grace Metalious, Peyton Place (1956); Rick Moody, Purple America (1997); Vladimir Nabokov, Lolita (1958).
242 B (Reading Fiction)
Twentieth-Century American Fiction. This course is an introduction to reading 20th-century American fiction via a broad-based survey of short stories, a classic novel (The Great Gatsby), and a contemporary novel (Caucasia). As we read, we will explore the diverse ways narrative form can be used to create and question individual identities and social relations. Texts: Ann Charters, The Story and Its Writer: An Introduction to Short Fiction, 5th ed.; Danzy Senna, Caucasia; F. Scott Fitzgerald, The Great Gatsby.
242 C (Reading Fiction)
Reading critically does not come “naturally”; it is a product of both training and practice. This course is designed as an introduction to the critical interpretation of literature; it is open to students of all interests and backgrounds and provides an opportunity to develop and refine the tools necessary to read, analyze, and argue intelligently about fiction. We will spend the first half of the quarter working on short stories. Rather than emphasizing a single theme, we will read a broad range of styles and authors, and use the contrasts between texts to begin to generate critical strategies for talking about and analyzing context, structure, language, style, and meaning in fiction. We will also consider the relationship between readers, authors, and texts, and try out some of our own “theories” in a conversation with an award-winning author. We will end the quarter by tackling two longer works of fiction. We will revisit a familiar American “classic,” Nathaniel Hawthorne’s The Scarlet Letter, and a contemporary pair of Irish novellas, William Trevor’s Two Lives. This course will also have a considerable emphasis on writing; in addition to papers and exams, there will be periodic writing workshops, response papers, and creative writing exercises. Sophomores only, Registration Period 1. Texts: Ann Charters,The Short Story and Its Writer; William Trevor, Two Lives; Nathaniel Hawthorne, The Scarlet Letter.
242 D (Reading Fiction)
Coming Out Stories. In this class, we’ll be reading coming out stories. Coming into one’s sexuality is a significant part of coming of age for everyone, but for lesbians and gay men it can be further complicated by internalized homophobia, the societal presumption of heterosexuality (and the resultant construct of the closet), and the risks that accrue to disrupting that presumption. We’ll examine what the process of coming out entails, various attitudes towards coming out, and other social factors which complicate the process, as represented in various literary texts. We’ll also consider these stories as a genre – what do they have in common with one another? How do they differ from stories of heterosexual first love? How have the conventions of this genre been determined by its subject matter, and how have they changed, as the process of coming out has changed. We’ll be reading The Coming Storm by Paul Russell, Tea by Stacey D’Erasmo, A Visitation of Spirits by Russell Kenan, and Oranges Are Not the Only Fruit by Jeannette Wintersen. We’ll also be reading a number of short stories, and watching the occasional film and television episode. Please be prepared for frank discussion about the politics of sexuality and sexual orientation, as well as their intersection with the politics of race, class, gender, and religion.
242U (Reading Fiction)
MW 7-8:50 pm
Spectral America: Hauntings and the National Imagination. In this course we’ll encounter haunting narratives to engage the power of fiction to shape American culture and politics. In addition to a course packet that will include excerpts from Dickens’ A Christmas Carol, Brogan’s Cultural Haunting, and Gordon’s Ghostly Matters, we’ll read five novels: Maxine Hong Kingston’s Woman Warrior; Louise Erdrich’s Tracks; Cristina Garcia’s Dreaming in Cuban, Toni Morrison’s Beloved, and Randall Kenan’s A Visitation of Spirits. The course requirements include: an intense reading load; active class participation; writing weekly short response papers; and writing one formal critical piece. Our course objectives are to develop close reading skills, to practice negotiating complex texts and topics, and to foster critical thinking.
250 A (Introduction to American Literature)
This course is a survey of American fiction organized along key lines of critical inquiry, such as class, gender, and race, and major topics of American literature, such as nature and nation. Though we will look at some early American and contemporary texts, the course will emphasize literature from the American Renaissance through the early twentieth century. Authors will include Bradstreet, Emerson, Hawthorne, Chopin, Douglass, Twain, and Faulkner, among others. The wide range of texts reflects course goals, which are to develop an understanding of periodization and historical contexts in American literature and to apply major analytical and critical approaches to these texts. Central assignments will include response papers, one longer paper, and a final exam. Non-majors only, Registration Period 1. For spaces for new transfer students only, see ENGL 250C below. Texts: Chopin, The Awakening; Rivera, And The Earth Did Not Devour Him; Twain, Pudd’nhead Wilson; Baym, et al., eds., Norton Anthology of American Literature, 5th (Shorter) edition.
250 B (Introduction to American Literature)
This course is a survey of American fiction organized along key lines of critical inquiry, such as class, gender, and race, and major topics of American literature, such as nature and nation. Though we will look at some early American and contemporary texts, the course will emphasize literature from the American Renaissance through the early twentieth century. Authors will include Bradstreet, Emerson, Hawthorne, Chopin, Douglass, Twain, and Faulkner, among others. The wide range of texts reflects course goals, which are to develop an understanding of periodization and historical contexts in American literature and to apply major analytical and critical approaches to these texts. Central assignments will include response papers, one longer paper, and a final exam. Non-majors only, Registration Period 1. Texts: Chopin, The Awakening; Rivera, And The Earth Did Not Devour Him; Twain, Pudd’nhead Wilson; Baym, et al., eds., Norton Anthology of American Literature, 5th (Shorter) edition.
250 C (Introduction to American Literature)
Meets with 250A above; spaces reserved for new transfer students only; add codes in English Advising office, A-2-B PDL; firstname.lastname@example.org.
281 A (Intermediate Expository Writing)
Introduction to Writing for the Web. This is a class in writing web pages. This medium is, by its very nature, multimedia, hyper-linked, and interactive; our goal will be to write pages and sites which employ these capacities. We will start at the ground level, with an introduction to hypertext and “markup languages”; this will include a quick “how-to-do-a-home-page” course. Course topics will include (but are not limited to): HTML markup techniques; the use of images, backgrounds and other visual effects; the issues involved in writing for a global (or a potentially global) audience; the advantages and disadvantages of writing in hypertext; shaping the way a reader “navigates” a web site; the Web as a site of artistic and self-expression; the Web as a site for information exchange, public debate, and education; style guides and principles of “good HTML”; who gets to decide what “good HTML” is, and why. (Students who already have a degree of HTML expertise would probably be more challenged by the senior-level version of this course, offered as ENGL 481.) No freshmen, Registration Period 1 Text: Musciano & Kennedy, HTML: The Definitive Guide, 3rd ed.
281 B (Intermediate Expository Writing)
281 C (Intermediate Expository Writing)
(En)Gendering the Self. This course is an Intermediate Expository Writing course, and as such, presumes that students already possess the basic writing skills learned in Freshman Composition. The course is thematically organized around critiques and interrogations of the construction(s) of gender in Western society. Students will read selections from feminist, queer, and cultural studies theorists writing on the subject of gender, as well as its political, social, cultural and psychological implications (to name just a few). Students will be required to write argumentative essays that will engage these theorists in conjunction with three films that we will view in class: In the Company of Men, Female Perversions, and Ma Vie En Rose. No freshmen, Registration Period 1. Texts: Lunsford & Connors, The Everyday Writer; photocopied course packet.
281 D (Intermediate Expository Writing)
281 E (Intermediate Expository Writing)
Introduction to Writing for the Web. This is a class in writing web pages. This medium is, by its very nature, multimedia, hyper-linked, and interactive; our goal will be to write pages and sites which employ these capacities. We will start at the ground level, with an introduction to hypertext and “markup languages”; this will include a quick “how-to-do-a-home-page” course. Course topics will include (but are not limited to): HTML markup techniques; the use of images, backgrounds and other visual effects; the issues involved in writing for a global (or a potentially global) audience; the advantages and disadvantages of writing in hypertext; shaping the way a reader “navigates” a web site; the Web as a site of artistic and self-expression; the Web as a site for information exchange, public debate, and education; style guides and principles of “good HTML”; who gets to decide what “good HTML” is, and why. (Students who already have a degree of HTML expertise would probably be more challenged by the senior-level version of this course offered as ENGL 481.) No freshmen, Registration Period 1 Text: Musciano & Kennedy, HTML: The Definitive Guide, 3rd ed.
281 F (Intermediate Expository Writing)
[Writing papers communicating information and opinion to develop accurate, competent, and effective expression.] No freshmen, Registration Period 1 Text: Adrienne Kennedy, People Who Led to My Plays.
281 G (Intermediate Expository Writing)
281 H (Intermediate Expository Writing)
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 Period 1 Texts:William Cronon, Uncommon Ground: Toward Reinventing Nature; Joseph M. Williams, Style: Ten Lessons in Clarity and Grace, 5th ed.
281 I (Intermediate Expository Writing)
281 U (Intermediate Expository Writing)
TTh 7-8:30 pm
(Added 1/31; sln:
Reading works by Nella Larsen, William Faulkner, and Jack Kerouac, we will examine the theme of mobility in American literature. There will be weekly written assignments, including three essays on topics drawn from our readings. Sophomores and above, Registration Period 1. Texts: Larsen, Passing and Quicksand; Faulkner, Light in August; Kerouac, On the Road.
283 A (Beginning Verse Writing)
This course will cover basic techniques in the writing of poetry, with attention to free verse and metered forms. The first half of the course will focus on reading, writing and aspects of the craft; the second half will be a workshop, in which student participation will be crucial. No freshmen, Registration Period 1. Text: Wallace & Boisseau, Writing Poems (4th ed.)
283 B (Beginning Verse Writing)
This course is an intensive in the fundamentals of poetry writing: imagery, metaphor, sound, diction, lineation, form, metrics, and the writing process. Each week we’ll focus on one of these, discussing each in terms of poems and/or essays included in the weekly handouts I will provide. Assignments (one per class) and poems (one per week) will stem from these issues, utilizing material collected in your daily journal. We will begin discussing and critiquing your poems in smaller workshop groups after the first couple weeks. No freshmen, Registration Period 1. Text: Nims, ed., Western Wind.
284 A (Beginning Short Story Writing)
During this course, we will examine and learn about the writing of short stories through the careful analysis of important contributing elements; these include, among others: character development; plot structure; point of view; dialogue; sentence structure and variation; and finally, the workshopping method of story critique. Majors only, Registration Period I. No texts.
284 B (Beginning Short Story Writing)
This class is an introduction to writing fiction through the study and writing of the short story form. Various elements of story writing such as character, plot, narrative style, point of view, voice, theme and structure will be explored through reading, discussion and focused writing exercises. Students will be responsible for writing a minimum of one short story plus a substantial story revision. The course may also include in-class workshops or student works-in-progress. Majors only, Registration Period 1. Text: photocopied course packet.