Course Descriptions (as of 15 December 2003)
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.)
Registration in 200-level English classes is entirely through MyUW. Instructors will have add codes beginning the first day of classes for overloads only. If the instructor chooses not to give overloads, the only way students can enroll in a 200-level English class during the first week will be through MyUW if space is available.
First Week Attendance
Because of heavy demand for many English classes, students who do not attend all reguarly-scheduled meetings during the first week of the quarter may be dropped from their classes by the department. If students are unable to attend at any point during the first week, they should contact their instructors ahead of time. The Department requests that instructors make reasonable accommodations for students with legitimate reasons for being absent; HOWEVER, THE FINAL DECISION RESTS WITH THE INSTRUCTOR AND SPACE IS NOT GUARANTEED FOR ABSENT STUDENTS EVEN IF THEY CONTACT THE INSTRUCTOR IN ADVANCE. (Instructors' phone numbers and e-mail addresses can be obtained by calling the Main English Office, (206) 543-2690 or the Undergraduate Advising Office, (206) 543-2634.)
200 A (Reading Literature)
Art and Mass Culture. This course will use several novels in conjunction with film, visual art, and critical essays to interrogate the relationship between art and mass culture. In particular, we will look at the way that mass culture is represented, incorporated, and contested in contemporary literary and visual art. We will use the following questions to frame our discussion: What does art look like in an age of mass media and pop culture? How do artists respond to mass culture and its technologies in their work? Can art play a critical role in a mass mediated society? The course goals can be summarized as follows:
• To be able to read closely and critically; to unpack literary and visual language and explore its implications.
• To be able to analyze how works of literature and art make arguments about the world.
• To be able to pose questions about literature and art that are relevant to your own experience of the world.
• To be able to explore these questions through writing by making and supporting arguments about a particular work.
Requirements: Daily attendance and participation.
Two short papers, a longer final paper, and several minor writing assignments,
along with in-class presentations
and discussion-leading. There will be a midterm exam and reading quizzes
based on reading, viewing, and in-class discussion. Texts: Don DeLillo, White
Philip K. Dick, Do Androids Dream of Electric Sheep?; Chuck Palahniuk, Survivor;
Jonathan Lethem, Motherless Brooklyn; photocopied
course packet; additional items on library reserve.
200 B (Reading Literature)
Little Angel, Bad Seed: Child Characters in Literature. We will read a variety
of literary works that have in common the presence of children, either as main
characters, narrators, objects of desire, buddies, bad-guys (and bad-gals),
innocents, little kids, big kids, and one baby. This is not a course in literature
written for children; rather, we will examine the presence of children in ordinary
grown-up texts. We will read several novels from the mid-to-late twentieth
century, and one from the twenty-first. In addition, we will take brief forays
into other genres, including poetry, short stories, memoir and the comic. Some
of the key questions we will consider include: What expectations do we have
of childhood and children, both in written works and in our everyday lives?
How are children used in texts to get at larger social meanings? Where do our
sympathies lie when dealing with a child character who does not behave as he
or she ought, and what do we mean by ought? We will consider the way in which
our experiences as former children shape or influence our reactions to characters
in texts, as well as the various means writers have of portraying those characters.
We will examine a range of features of literary texts, including plot development,
structure, setting, point of view, characterization, language choice, imagery,
dialogue, etc. Coursework will include a demanding reading schedule, class
discussions, several writing assignments, group or individual presentations,
and a possible mid-term and/or final. Texts: William Golding, Lord
of the Flies;
Vladimir Nabokov, Lolita; Ian McEway, Atonement; Roddy Doyle, Paddy
Clarke Ha Ha Ha; Anne Lamott, Operating Instructions:
A Journal of My Son’s First Year; Lynda Barry, The! Greatest!
photocopied course packet.
200 C (Reading Literature)
This course introduces literature as an opportunity to improve interpretive skills with a pronounced focus on close, critical reading. We will examine several imaginative literary texts by considering the social and political dimensions of technology, transformation, violent conflict, and territory. While common thematic interests will help to provide a vocabulary for our exploration of these books, we will also be fostering an appreciation of how the formal elements of fiction and narrative style work. Our discussions will demand active, engaged participation and in-class presentation There will also be some short response papers, a longer paper, a midterm, and a final exam. Texts: Mary Shelley, Frankenstein; Charlotte Perkins Gilman, Herland; Cormac McCarthy, Blood Meridian; Stever Erickson, Arc d’X; Tim O’Brien, The Things They Carried; Don DeLillo, Mao II; Denis Johnson, Fiskadoro; Neal Stephenson, The Diamond Age.
200 D (Reading Literature)
Revising the “American Dream.” Historian Stephanie Koontz has recently argued that America's nostalgic desire for a return to lost innocence is, in fact, an imagining which fantastically erases deeply entrenched (and long-standing) conflicts of ethnicity, race, class, gender and sexual orientation. In this class we will consider how twentieth-century US ethnic writers negotiate the demands of the "American" dream. Through a critical engagement with the work of Anzia Yezierska, Meridel Le Sueur, John Okada, Gish Jen, Sherman Alexie, Eric Liu, Gloria Naylor and Ana Castillo we will test the formula of the American dream and ask if there are other ways of becoming "American," other ways of negotiating identity within the intersections of race, ethnicity, class, gender and nation. Texts: Horatio Alger, Ragged Dick; Anzia Yezierska, Bread Givers; Meridel Le Sueur, Girl; John Okada, No No Boy; Gish Jen, Typical Americans; Gloria Naylor, Linden Hills; Ana Castillo, Peel My Love Like an Onion; Sherman Alexie, The Business of Fancy Dancing.
207 A (Introduction to Cultural Studies)
Green Cultural Studies: Nature, Space, and Bodies in Postmodern Culture. This course will give students a working knowledge of a cultural studies approach, then use that approach to ask questions about the ways in which nature, space and human bodies are figured in postmodern literature and culture. The focus of the course is “green cultural studies” – a critical approach that adds nature to the categories more commonly addressed by cultural studies (e.g., class, race, gender, sexuality). We will treat nature as both a material reality, which can be commodified or consumed, and as a social construct, which reflects cultural values. We will examine space as socially produced, rather than simply an empty vessel that we “fill,” free of intent or consequence. And, we will challenge our familiar understandings of the human body, looking at bodies as contested sites at which complex political narratives play themselves out. As cultural studies scholars, we will “read” a variety of “texts,” including literature, film, advertisements, critical theory, persuasive essays, and particular spaces within the city of Seattle. Asking (and trying to answer) questions about our daily environments is both an important pursuit in cultural studies and a necessary step towards thinking critically about the world we inhabit. Requirements: Short response papers, one in-class presentation, one longer written project, film viewing outside of class, and a midterm exam. Text: Ruth Ozeki, My Year of Meats.
207 B (Introduction to Cultural Studies)
As recently as fifteen years ago, computer-mediated communication (CMC) was in its infancy. The internet as we know it today scarcely existed. E-mail accounts were few and far between, 300-baud modems were the rule, and the World Wide Web had not yet been invented. In an astonishingly short time, everything has changed. Today we take the Net so much for granted that it’s hard to gauge the distance we have gone, or the difference it has made. This course will consider the many ways that contemporary culture has been reshaped – and is still in process of being reshaped – as a result of the growth of the Internet, and associated electronic technologies. We will look into the new electronic forms of culture, and try to decode the new messages that are being conveyed by the new digital media: personal computers and world-wide information networks, above all, but also video, multimedia, interactive games, online communities, and virtual reality technologies. We will look at a wide range of material: from theoretical writings about the nature of virtualization to policy debates about issues such as copyright and encryption, and from speculative science fiction to experiments in interface design to “net art” projects. Texts: David Bell & Barbara Kennedy, eds., The Cybercultures Reader; Marshall McLuhan, et al., The Medium is the Message.
211 A and 211B (Medieval & Renaissance Literature)
Medieval Myths, Manhood and the Evolution of Early Modern English Monarchy. The literature of the medieval and Early Modern eras is extraordinarily diverse.
Rather than attempt broad coverage of the entire period, in this course we
will examine one of the central threads of political and intellectual thought:
theories of kingship. We will begin with a variety of Arthurian legends,
read selections from political philosophers such as Erasmus and Machiavelli,
and contemplate the dramatic kings of Shakespeare and Marlowe. We will end
by exploring selections from the political tracts of both James I and Milton.
Along the way we will consider ideas such as the divine right of kings, the
interconnections of religion and monarchy, gender and leadership, and the
power of the charismatic politician. The reading for this class will be both
challenging and rewarding. Participation will be essential to doing well
in this course. Assignments will include group presentations and may also
take the form of several formal papers. There will likely be a midterm and
either a final exam or final paper. N.b.: Please do not purchase your texts
before the first day of class. (211B = 5 spaces for new transfers) No
majors, Reg. Period 1. Texts: Christopher Marlowe, Edward
II; Shakespeare, King Richard
II; King Henry V; photocopied course packet.
212 A and 212B (Literature of Enlightenment & Revolution)
Recently, many historians and literary scholars of Victorian England have argued that gender was the preeminent category of social organization in the 19th century. They support their argument by noting a conceptual shift from gender as hierarch in the 18th century to gender as separate, complimentary spheres in the 19th century. In this course, we will examine these shifting attitudes towards gender – or, in the terminology of the course, gender enlightenment(s) and revolution(s) – in the context of other concurrent political and social movements (French Revolution, Industrial Revolution, “The Enlightenment,” etc.). Our discussion will be facilitated by reading several non-fiction texts and three novels from the late 18th century and early-mid 19th century. In addition to studying the aforementioned themes, we will also discuss the period’s literary trends and tropes. (212B = 5 spaces for new transfers) No majors, Reg. Period 1. Texts: Gaskell, Mary Barton; Bronte, Jane Eyre; Austen, Pride and Prejudice; Mill, The Subjection of Women; Wollstonecraft, The Vindications.
213 A (Modern & Postmodern Literature)
American Mobilities: Identity, Consumption and Motion in Modern and Postmodern Literature. This course will investigate the ways in which both literal (e.g., cars, planes, elevators) and metaphoric (racial, gendered, class) mobility is represented and constituted in 20th-century American literature. We will work towards creating definitions and understandings of “modern” and “postmodern” literature by asking a set of critical questions about capitalism, consumption and the construction of ”self” as represented in the course texts. Graded course work will include one short paper, quizzes, a mid-term, one 8-10-page paper and class discussion/contribution. No majors, Reg. Period 1. Texts: Fitzgerald, The Great Gatsby; Larsen, Passing; Kerouac, On the Road; Okubo, Citizen 13660; Dick, Ubik; Whitehead, The Intuitionist.
213 B and 213C (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.] (213C = 5 spaces for new transfers) No majors, Reg. Period 1. Texts: James Weldon Johnson, Autobiography of an Ex-colored Man; F. Scott Fitzgerald, The Great Gatsby; Chester Himes, Yesterday Will Make You Cry; Maxine Hong Kingston, The Woman Warrior; Jessica Hagedorn, Dogeaters.
213 D (Modern & Postmodern Literature)
Fragmenting Modernity: Modernism, Postmodernism, and World War II. In this course we will read two long novels, Thomas Mann’s Doctor Faustus (1947) and Thomas Pynchon’s V (1963), along with selected poetry. In these novels, Mann and Pynchon comprise their visions of Modernity and Post-modernity out of the impasse between artistic ambition and political responsibility that arose during and after the second World War. The course therefore considers World War II as a historical moment whose representational value was contested by Modernists and Post-modernists. We’ll discuss the relative value of configuring both Modernism and Postmodernism around World War II, as opposed to the conventional method of configuring Modernism around World War I and Postmodernism around the Vietnam War. Indeed, we’ll discuss the relation of both movements to the concept and practice of war in general. No majors, Reg. Period 1. Texts: Thomas Pynchon, V; Ramazani, Ellman, O'Clair, The Norton Anthology of Modern and Contemporary Poetry; Thomas Mann, Doctor Faustus.
225 A (Shakespeare)
Designed to introduce several of Shakespeare’s dramatic works as well as the cultural and social forces that surrounded their composition, this course builds upon a fundamental understanding of the plays as performances rather than texts meant for more interior reading. As such, class time often will be devoted to oral recitation and performance, as well as analysis and discussion. We will also approach the texts from historical and critical perspectives. In addition to regular response papers that will encourage individual synthesis of the texts along with the experience of performing them, the course will likely include a midterm exam and final formal paper. Research assignment(s) and/or presentations may also be included. Text: The Riverside Shakespeare.
225 B (Shakespeare)
How does one approach the prolific phenomenon of Shakespeare in just 10 weeks? By being selective, setting a few helpful course goals, and understanding that we are always only making a start when we study literary texts. ENGL 225 will thus not be a survey of Shakespeare, but will instead use the 10 weeks to focus on four interesting, important, and diverse plays in his oeuvre. After some introductory work with the sonnets, we’ll read a tragedy (King Lear, which we will also see in live performance early in the quarter), a comedy (Much Ado About Nothing), a history (Henry V), and a romance (The Tempest), all sharing some themes we’ll try to trace. The main goal is to make you more confident readers of Shakespeare. Classwork, papers, and a group project will all support this goal. Texts: Shakespeare, Henry V, Much Ado About Nothing, The Tempest, King Lear; McDonald, The Bedford Companion to Shakespeare, 2nd ed.
228 A (English Literary Culture: to 1600)
The course catalog identifies this class as a survey of medieval and early modern English literature; however, we need to ask what makes early English literature specifically “English.” Is it satisfactory to categorize literature by its location of origin alone? What are we to do with the fact that the literary tradition was constantly shifting, being heavily influenced, and sometimes supplanted altogether, by the literary traditions of non-English visitors/conquerors/missionaries? In our quest to trace the development of “English” literature, we will be reading texts that were originally composed in Latin, Anglo-Saxon, Old French, and Middle English (all but the Middle English in translation, of course). As we examine the cultural and political context of this transnational hodge-podge we call medieval English, we will also discuss how the texts were physically transmitted: the production and dissemination of manuscripts, literacy and readers, and the movement from an oral/aural culture to a literary one. Because we only have ten weeks to deal with a time period of over 900 years, our reading list will be selective rather than comprehensive. (ENGL 228B represents 5 spaces in this section reserved for new transfer students; add codes in English Advising, A-2B PDL.) No ENGL majors, Registration Period 1. Text: Damrosche, Longman Anthology of British Literature, Vol. 1A (2nd ed.)
229 A and 229B (English Literary Culture: 1600 – 1800)
Literary Tradition and the Female Figure. In the literary tradition of the early modern era, authors relied on female-gendered figures more with the goal of conveying certain abstract ideas and less with the intention of realistically representing real women. This practice of using gender in a symbolic fashion interacted with and drew upon, but did not necessarily reflect, the reality of women’s roles in society. Yet as women came to play increasingly visible, active and participatory roles (one indication of this shift occurred when female actors replaced boys in women’s parts on stage), authorial styles and themes adapted to treat these and other social phenomena. The character of Eve for example, in Milton’s Paradise Lost, represents many things at once. At times she is portrayed as stereotypically female: vain, ambitious, and dangerously independent. Other times we could consider her waywardness as representative of humanity in general, and her character as one type of reaction to divine authority, comparable to, yet distinctly different from, the reactions of Adam or Satan. Later in the Restoration comedies of Aphra Behn, England’s first professional woman playwright, concerns about marrying for money mingle with issues relating to freedom of choice and the unreliability of love in an increasingly mercenary world. In addition, we will consider the relationship of literature to events and movements such as: the English civil war; the influence of politics, court life and religion on literary practice; empire and colonization; the growing popularity and accessibility of books; the ongoing theme of prostitution and the creation of a middle class sensibility. (229B = 5 spaces for new transfers) No majors, Reg. Period 1.
Texts: Thomas Middleton, The Roaring Girl; John Milton, Paradise Lost; Aphra Behn, The Rover and Other Plays; France Burney, Evelina.
229 C (English Literary Culture: 1600 – 1800)
[British literature in seventeenth and eighteenth centuries. Study of literature in its cultural context, with attention to changes in form, content, and style.] No majors, Reg. Period 1. Texts: Damrosch, ed., The Longman Anthology of British Literature, Vol. 1B: The Early Modern Period and Volume 1C: The Restoration and 18th Century.
230 A & 230B (English Literary Culture: After 1800)
Reading Empire. In this course we will explore the ways English literary culture constructed representations of empire from the early 19th through the 20th centuries. We will read a variety of novels, short stories, and poems, in addition to selected nonfiction texts meant to provide social and historical context. Students can expect a challenging reading schedule, weekly writing responses, and two in-class presentations. Final grades will be determined by students’ active participation in the daily work of the class, in addition to their performance on a mid-term and final exam. (230B = 5 spaces for new transfers) No majors, Reg. Period 1. Texts: Caryl Phillips, Crossing the River; Elizabeth Gaskell, Cranford; E. M. Forster, A Passage to India; Joseph Conrad, Heart of Darkness; Jane Austen, Mansfield Park.
242 A (Reading Fiction)
In this class, we will explore the concept of American modernity through various novels and short stories written in the U.S. after 1900. In particular, we will examine the constitution of American modern subject in and through literature. Employing the argument that literature is a cultural production that contributes to the knowledge formation of a particular subject, we will, in our reading of the selected texts, interrogate the connections between the “knowability” of certain – exceptional – subjects and the advancement of U.S. capitalism that disavows imperialist practices by claiming American exceptionalism. Tentative texts include Bulosan’s America is in the Heart; Ellison’s Invisible Man; Faulkner’s Light in August; Fitzgerald’s The Great Gatsby; Larsen’s Passing; and Lee’s Native Speaker. We will also read short stories and theoretical essays from a course reader. Be prepared for a heavy reading load.
242 B (Reading Fiction)
This course provides an introduction to reading and interpreting fiction through the study of writing about the American (U.S.) West. The aims of this course fall under three headings: to read fiction closely in order to produce thoughtful and engaging arguments, to explore a variety of critical approaches available to readers, and to study cultural artifacts, such as film and art, that provide context for the literature. Our work toward these goals will center on several critical questions about the course topic. Which strategies and themes are prominent in writing about the West? Which visions for individual, regional, cultural, and even national, “identities” are thereby expressed? How do these visions impact our understanding of larger social and political issues? Primary readings will include novels and short stories from the work of: Jack London, Willa Cather, Cormac McCarthy, Hisaye Yamamoto, Sherman Alexie, Gary Pak, and Jon Krakauer. Secondary readings from a collection of literary criticism and theory will expand our initial responses to the fiction. Daily work in the course will be based on group discussion. Course requirements include active participation, short critical response papers, a group presentation, mid-term exam, and final paper. Texts: Cormac McCarthy, All the Pretty Horses; Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven; Gary Pak, The Watcher of Waipuna and other Stories; Jon Krakauer, Into the Wild; Charles E. Bressler, Literary Criticism: An Introduction to Theory and Practice; photocopied course packet.
242 C (Reading Fiction)
“The Future is Today”: Unlocking Science Fiction. Speculative fiction, particularly science fiction, often is described as a genre of literature that you have to grow up reading if you are going to be able to understand and love it. This course takes issue with this common assertion and is, in fact, designed specifically to explore the strategies involved in reading science fiction as well as the genre’s common themes and metaphors. No prior knowledge of science fiction is assumed, though a willingness to jump in and experience the genre on its own terms will be helpful. Rather than attempting to develop reading skills appropriate to the entire genre, we will focus on how science fiction engages elements of the world we know. To this end, we will be reading science fiction that is drawn primarily (i.e., there will be exceptions) from the post-1945 Anglo-American context. We will approach science fiction using two methods. First, we will examine how it defamiliarizes not only history, but also an array of people, objects, social relations, and experiences, so that we can observe them critically. Second, we will consider each text in its historical context and speculate on how each text addresses the concerns of its historical moment, and how the issues addressed relate to our own historical moment. Some of the topics that we may consider in developing strategies for reading science fiction include: questions of citizenship, education narratives and theories, political machinations and the future of the nation state, the politics of reproducing the social body, metahistorical narratives, cyborgs and technobodies, and mediated experiences and living conditions. During the latter part of the quarter, students will be able to use their understanding of these themes and topics, as well as strategies of reading and writing about science fiction to understand, analyze, and, perhaps most importantly, enjoy, Neal Stephenson’s The Diamond Age. Texts: Hartwell & Wolf, Visions of Wonder: The Science Fiction Research Association Reading Anthology; Neal Stephenson,The Diamond Age; Robert A. Heinlein, Starship Troopers; Joe Haldeman, The Forever War.
250 A (Introduction to American Literature)
Imagining Self, Imagining Nation: Race, Identity and the Making of "America" in US Literature and Culture. In this class we will examine how 18th-19th-and-20th century US writers have imagined the self as within or in opposition to US society and the nation. The process of self-definition requires different acts, different negotiations which depend in part on the particular location of the subject within the broader framework of the nation. Much of our attention will focus on the gender, socioeconomic and racial considerations which shape how literature defines and values the self as part of a broader historical moment. We will also look at how literary texts intervene into particular socio-historical moments in order to influence, criticize, illuminate and sometimes transform deeply entrenched ideas. By looking at a number of interdisciplinary writings, such as journalism, legal decisions and historical analyses, while at the same time reading short stories and novels from the same period, this class will help you gain a deeper appreciation of how literature participates within the broader frameworks which produce and are produced by it. While this course does not aim to survey all aspects of US literature, it does cover a great deal of material with the result that you will need to devote a substantial amount of time and effort to carefully reading the texts for each week. In addition, I will expect you to critically and enthusiastically engage with the materials for each class period; to this end, there will be a particular emphasis on class participation, both through active class discussions and frequent in-class essays. No majors, Reg. Period 1. Texts: Benjamin Franklin, Autobiography and Other Writings; Charles Brockden Brown, Wieland; James Fenimore Cooper, Last of the Mohicans; Nathaniel Hawthorne, Blithesdale Romance; Harriet Wilson, Our Nig; Edith Wharton, House of Mirth; John Okada, No No Boy; Sui Sin Far, Mrs. Spring Fragrance and Other Stories.
250 B and 250C (Introduction to American Literature)
Float Like a Butterfly, Sting Like a Bee: American Knowckouts. This class will study some of the stronger jabs and roundhouses thrown by American writers of the past 160 years. Texts will include F. Scott Fitzgerald’s The Great Gatsby, Joan Didion’s Slouching Towards Bethlehem, James Cummins’ The Whole Truth, and Tony Kushner’s Angels in America. A course packet will include works by Edgar Allan Poe, Emily Dickinson, Walt Whitman, Ernest Hemingway, Gertrude Stein, T. S. Eliot, Ezra Pound, Langston Hughes, Robert Frost, John Berryman, Allen Ginsberg, Russell Edson, Muhammad Ali, Jack Gilbert, Sylvia Plath, James Tate, Donald Barthelme, Denis Johnson, Lorrie Moore, David Foster Wallace, Joe Wenderoth, and Amy Hempel. (250C = 5 spaces for new transfers) No majors, Reg. Period 1.
250 D (Introduction to American Literature)
This course will take as its central questions, “What is America?” and “Who are Americans?” In response, we will examine a range of literary works, most from the 20th century, published in North and South America, often with international readerships and shared themes and influences. We will ask what makes a work of literature – or a writer – “American” and will discuss thematic and contextual issues, including race, gender, political idealisms, and popular culture. This course will ask you to read American literatures within historical and cultural contexts and across borders. Through class discussions and writing assignments, you will learn to respond to these literatures – and the cultural and academic discourses surrounding them – with arguments that illustrate your own ideas with textual and contextual evidence. Participation in class discussion will be expected. Written assignments will include regular response papers, two essay exams, and a final paper, and will demonstrate students’ ability to analyze the readings within the course them and in relation to each other. No majors, Reg. Period 1. Texts: Carlotte Perkins Gilman, Herland; Nella Larsen, Quicksand and Passing; Jack Kerouac, On the Road; Manuel Puig, Kiss of the Spider Woman; Margaret Atwood, The Handmaid’s Tale; photocopied course packet.
250 E (Introduction to American Literature)
American Mobilities. This course will serve primarily as an introduction to the literature of the United States. As such, we will read literature (fiction, non-fiction, and poetry) from a variety of periods and writers, covering a number of different themes. This is obviously too large of a subject to cover thoroughly in just 10 weeks, so it is both useful and necessary to focus our attention in some way, to read this array of works through a variety of related lenses. Because the American mythos relies so heavily upon a dream of free mobility along multiple axes (upward class mobility, Westward expansion, modernization, immigration, racial and cultural assimilation, Civil Rights, and women’s liberation, for example) working in tandem to bring into being both the nation itself and its citizens, I have chosen mobility as our basic focus. We will read texts that represent various American mobility possibilities/impossibilities and their role in the construction, celebration, and contestation of national and personal identities. Along with our primary literary sources, we will read contemporary critical essays about the scope and trajectory of American Studies as an academic discipline, in order to establish a basic grounding for our conversations. Required work: active participation in class discussion, reading comprehension quizzes, a midterm exam, 3 short response papers, and a final 7-10 page paper. No majors, Reg. Period 1. Texts: Baym, et al., eds., The Norton Anthology of American Literature¸ Shorter, 6th ed.; Mark Twain, Pudd’nhead Wilson; Willa Cather, My Antonia; Louise Erdrich, Love Medicine; photocopied course packet.
250 F (Introduction to American Literature)
Added 12/1; sln: 8987
In this section of ENGL 250 we will read texts ranging from pre-colonial travel narratives to contemporary poetry. Expect to read and write more than you ever thought possible in a ten week period. Text: Baym, ed., Norton Anthology of American Literature, shorter 6th ed.
257 A (Introduction to Asian-American Literature)
This course will examine the historical currents that necessitated the emergence of Asian American literature, in conjunction with a consideration of the difficulties and possibilities inherent to defining an “Asian Pacific American” literary sensibility. Asian American populations have been deeply impacted by restrictive immigration legislation and American foreign policy, putting its peoples in a unique position for defining Americanness. How do artists with an Asian ancestry challenge a country that ostensibly celebrates diversity yet looks with suspicion on the foreign? The course will include novels, short fiction, theory, and film, beginning in the early twentieth century with the works of Carlos Bulason and ending with contemporary writers such as Christine Choi and David Henry Hwang. Texts: John Okada, No-No Boy; Susan M. Choi, The Foreign Student; Maxine Hong Kingston, The Woman Warrior; Chang-Rae Lee, Native Speaker; David Henry Hwang, M. Butterfly.
281 A (Intermediate Expository Writing)
[Writing papers communicating information and opinion to develop accurate, competent, and effective expression.] No auditors. Majors only, Reg. Period 1.
281 B (Intermediate Expository Writing)
This class will foster a better understanding of writing by examining
how writing is used to transgress authority in a variety of settings. This
class imagines that rhetorical awareness and understanding can be fostered
by examining “real world” texts and producing both traditional
and innovative arguments about them. In some sense, the rhetorical awareness
gained by investigating and producing a wide variety of rhetorical texts
may actually be more transferable to the work you perform in your different
disciplines than would be an approach that imagines that a single “academic
essay” exists in the university and can be taught in this class. First
we’ll examine the rhetorics of graffiti, analyzing the theories
and case studies of both academic and pop culture experts as they discuss issues
ranging from the Berlin Wall to the walls of university bathrooms, and you’ll
have a chance to examine graffiti you locate and make an argument about it.
Next we’ll move into an analysis of the texts of culture jamming, which
is defined as “the viral introduction of radical ideas” in that
it uses existing resources to replicate itself and make its arguments (http://www.abrupt.org/CJ/CJ.html).
(The Onion would be a popular form of culture jamming.) Our analysis
of how culture jamming inserts transgressive meanings into existing texts will
connected to an examination of non-traditional academic discourse, and I will
ask you to produce a culture jamming text and make an argument about what it
does. I’m still sketching out the final assignment, but it will focus
on complicating the notions of what it means to ask students to write and investigating
how and why writing is used as punishment. It is important to realize that
ENGL 281 is an intermediate expository writing course: you are expected to
having thought about and practiced academic
writing in a variety of settings. Expect daily reading and writing, and much
time devoted to revision of your work. Regular attendance and effort is crucial. No
auditors. Majors only, Reg. Period 1. Text: photocopied
281 C (Intermediate Expository Writing)
The subject of this computer-integrated intermediate composition course,
within the context of a brief overview of the history of Seattle, is the
study of three communities: the International District/Chinatown, the Pike
Place Market area, and the University District. Students will work individually
and in community groups using observational, demographic, newspaper, cartographic,
photographic, interview and/or service-learning research as ways both to
construct an understanding of a smaller community within its larger urban
setting, and to analyze the various methods used to study that community.
Training in all research methods will be provided by the instructor and
by subject area specialists in the UW Libraries. In addition to several
short writing and presentation assignments, students will write three papers,
with an emphasis on the process of planning, research, drafting, peer critique
and revising. The goals of this course are to introduce (or re-introduce)
students to the city of Seattle, to a specific community within Seattle,
to some of the research resources and methods available at UW, to writing
and revising processes, and to working collaboratively with teachers, librarians
and fellow students. This course is computer-integrated. You should review
(or learn) all necessary skills and procedures for working with the computers
covered in the CIC Student Supplement. No auditors. Majors only, Reg.
Period 1. Texts: Fulwiler & Hayakawa, The
Reference, 2nd ed.; CIC Student Supplement (available at Communications
281 D (Intermediate Expository Writing)
This rigorous and demanding course will provide an interactive, supportive workshop and discussion setting in which you will advance, add to, and refine the writing skills you began to develop in 100-level English courses. We will work on both reviewing and complicating our ideas about what makes a piece of writing persuasive, critical, interesting, meaningful, and, ultimately, important. Our focus will be on academic writing -- that is, on recognizing, understanding, and practicing the standard conventions that characterize argumentation and critical analysis within academic conversations. Expect DAILY reading, writing, and/or research assignments; we will use class time for discussions and writing workshops, which will succeed only with everyone¹s active, engaged participation. Be prepared to read a lot, think critically and in new directions, write constantly in response to those readings and thoughts, and share your ideas and your writing with the class at all stages of development.
Readings, discussions, papers, and projects will focus on the topic of ³American Environments.² We will be querying the social and material construction and negotiation of natural, rural, urban, and suburban environments, reading both fictional and non-fictional texts that articulate various experiences in, perceptions of, and arguments about environments. Thus, in some contexts, ³environment² will have meanings similar to ³nature,² but in others, it will refer more broadly to any social spaces we inhabit. We will also discuss the ways in which these spaces overlap, and we will interrogate the ways in which they are or are not recognized as a part of our everyday practices and experiences. An overarching idea that will guide all of our inquiries is the argument that, to some degree, we both produce and are produced by our environments. No auditors. Majors only, Reg. Pd. 1. Text: Rosenwasser & Stephen, Writing Analytically, 3rd ed.
282 A (Composition for the Web)
This course will focus on techniques for writing informative and persuasive Web pages, as well as the rhetorical elements of Webwriting. We will cover the basics of markup languages (HTML and XHTML) and Web design, and will discuss the social, political, and cultural implications of the web as a site for new forms of textuality. Two classes per week (MF) will meet in the computer lab, where much of our time will be spent analyzing and designing Web pages. Some familiarity with Windows and Unix environments helpful but not required. Major writing assignments will include group- and individually-authored Web pages to be submitted via posting to students’ Websites. Expect to do a lot of reading and writing (most, if not all of it, online). Majors only, Registration Period 1. No auditors; no freshmen, Registration Periods 1. Text: Musciano & Kennedy, HTML and XHTML: The Definitive Guide, 5th ed.
283 A (Beginning Verse Writing)
[Intensive study of the ways and means of making a poem.] No auditors. Majors only, Reg. Period 1.
283 B (Beginning Verse Writing)
In this class we'll consult the work, both poetic and academic, of contemporary poets to learn the ins and outs of writing verse: image, metaphor, music, form and voice. We'll write poems based on assigned exercises. We'll share these poems with our classmates in a supportive workshop fashion. And, at the end of the quarter, we'll have a solid foundation of poetic craft and a renewed appreciation for the art. No auditors. Majors only, Reg. Period 1. Texts: To be announced by instructor in class.
284 A (Beginning Short Story Writing)
At the heart of this course is an introduction to conventional story workshopping with craft-focused readings of short fiction, both student and published, and developmental exercises centering on techniques of literary fiction writing. A willingness to play on paper with the many aspects of storytelling is primary; a close second is active participation in discussions and in-class writing. Majors only, Reg. Period 1. Text: Hansen& Shepard, You’ve Got to Read This.
284 B (Beginning Short Story Writing)
[Introduction to the theory and practice of writing the short story.] No auditors. Majors only, Reg. Period 1.