Winter Quarter 2000

200-Level Courses

Course Descriptions (as of 15 November 1999)
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)
Dy 8:30
Bodies and Fictions.  The primary goal of this course is to engage students in readings of fictive texts that are both "pleasurable" and "critical."  Discussions and readings of novels will be organized around a body thematic.  In each novel we will examine literal representations of the physical body and the body as metaphor for the social/political, as well as the relationship between the body and language.  Students will be asked to read five novels, and may also be assigned additional readings in critical theory.  The writing component will consist of weekly written responses and one major critical essay. Texts: Chester B. Himes, If He Hollers Let Him Go: A Novel; William Faulkner, Sanctuary; Dorothy Allison, Bastard Out of Carolina; A. M. Homes, The End of Alice; William Gibson, Neuromancer.

200 B (Reading Literature)
Dy 9:30
Technology and Humanity. This course hopes to make reading more fun by enhancing your ability to recognize new and exciting elements in literature.  We will read four novels plus a course packet containing poetry, drama, and other materials.  Although students are encouraged to respond to the material in diverse and individualized ways, the texts themselves have in common a theme of interrogating the relationship between technology and humanity.  We will examine the texts from many perspectives with an emphasis on close readings, interpretation, and social significance.  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: Mary Shelley, Frankenstein; Aldous Husley, Brave New World; Marge Piercy, Woman on the Edge of Time; Kurt Vonnegut, Player Piano; photocopied course packet.

200 C (Reading Literature)
Dy 10:30

--cancelled 11/8/99; replaced by ENGL 200V below--

200 D (Reading Literature)
Dy 11:30
This class is about young women’s coming-of-age narratives.  We will examine why the coming-of-age story has traditionally been associated with young men; how narratives about young women’s lives are different; and what these narratives say about the experience of growing up female.  The texts for the course will include novels, short stories, television program episodes, films, and essays. Texts: Jamaica Kincaid, Lucy; Dorothy Allison, Bastard Out of Carolina; Toni Morrison, The Bluest Eye.

200 E (Reading Literature)
--cancelled 10/6--


200 F (Reading Literature)
MW 11:30-1:20 
Lucifer: Representations of Evil in Western Literature. “[The] grandest Poetry is Immoral, the Grandest characters Wicked, Very Satan” [Blake’s Annotations to Boyd’s Dante].  In this course we will examine representations of evil in literature from the Bible until the beginning of the 19th century.  We will start with Genesis, and work our way through Job, Medieval Manuscripts and Visionary Literature, Dante, Milton, Marlowe, Burke (on the Sublime), Shelley, Blake, Byron, Standahl, Sartre, Conrad, and Coppolla.  These authors and texts will generate such topics as the seductiveness of Satan, the relationship between the devil and divine humanity, fallen humanity and race, origins of the Byronic hero, the relationship between satanism and gothicism, and other issues.  Students will also read a number of works of criticism, write several short papers and one term paper. Added 10/7; sln: 8278.  (Meets with HUM 220A; C LIT 210A) Texts: The Bible; Dante, The Divine Comedy; Milton, Paradise Lost; Marlowe, Dr. Faustus; Blake, Songs of Innocence and Experience; “The Marriage of Heaven and Hell”; Byron, “Prometheus,” “Darkness,” “Manfred”; Shelley, The Cenci; Standahl, The Cenci; Sartre, No Exit.

200U (Reading Literature)
TTh 7-8:50 pm
Added 10/7; sln: 8277.
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 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 some “nonliterary” texts in addition to a broad selection of short stories and poems.  Course assignments will include a reading journal, weekly short writing assignments, three take-home midterm exams, and a final paper. Texts: Scholes, et al., Text Book: An Introduction to Literary Language; Charters, The Story and Its Writer (5th ed.).

200V (Reading Literature)
MW 7-8:50 pm
(W; SL)
Added 11/8 (sln: 8630)
Teachers and Learners: Pedagogy, Power, and the Politics of Desire.  We will examine contemporary literary representations of teaching and learning, inside and outside of traditional “classroom” settings.  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 will be set up through the Pipeline Project, and will involve a variety of educational settings in Seattle schools.  The experiences you have at your sites will be integral to the discussions and writing in the course, giving you opportunities outside the classroom for reflecting on the ideology of educational transformation, the role “desire” plays for both the teacher and the learner, and the “politics” or power dynamics of teaching and learning in a racially and economically unequal society.  These placement experiences will both relate to the works you read and also help us to think about the “art-ifice” or literary-ness (i.e., the formal constraints and structure) of the literature we read.  In this course we will concentrate on enjoying our reading, developing your skills as sensitive, analytical, and interested readers of literature, and inquiring into the place of community service in higher education.  The course will require 2 short papers, response papers, and occasional brief reading quizzes; this written work will corporate both your reading of class texts and your service work.  Texts:  Muriel Spark, The Prime of Miss Jean Brodie;  David Mamet, Oleanna;  Ernest J. Gaines, A Lesson Before Dying;  Martyn Bedford, Acts of Revision;  Donna Tartt, The Secret History;  Ramona L. Sapphire, Push.

210 A (Literature of the Ancient World)
Dy 8:30
This course provides an introduction to the ancient literature of the Mediterranean, beginning with the Homeric epics, The Iliad and The Odyssey, and ending with the Confessions of St. Augustine, written roughly 1500 years later.  Along the way, we shall read a number of Greek plays by Aeschylus, Sophocles, and Euripides, the Poetics of Aristotle, Plato’s Apology, poetry by Ovid and Sappho, bits of Vergil’s Aeneid, and selections from the Old and New Testaments as well as Biblical Apocrypha.  The course requires a fair amount of reading, and class participation is paramount.  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. Text: Mack, et al., eds., The Norton Anthology of World Masterpieces, Vol. 1, 7th ed.

211 A (Medieval & Renaiisance Literature)
MW 8:30-10:20
Wanderers and Brave New Worlds.  This course will survey some poetry, prose and drama from the European Middle Ages and Renaissance, beginning with selections from Boethius’ Consolation of Philosophy and ending with Shakespeare’s The Tempest.  Along the way, we will focus on reading literary texts in cultural context, on the development of the English language, on research skills in the discipline of English, and on a variety of forms of sharing our knowledge: short writing, exams, and student presentations. Non-majors only, Registration Period 1. Texts: Katharina M. Wilson, ed., Medieval Women Writers; Harrison, tr., Sir Gawain and the Green Knight; Chaucer, Canterbury Tales  (ed. Hieatt & Hieatt); Shakespeare, A Midsummer Night’s Dream; The Tempest.

212 A ( Literature of Enlightenment & Revolution)
Dy 10:30
In this introductory course we'll read literature written during the Enlightenment and the early years of the Romantic period, an historical interval marked by revolutions--political, industrial, intellectual, and aesthetic.  Our writers took on "big" questions regarding human nature, the existence of the divine, the role of government, the ideal society, the natural world, the structure of the mind and the roles of imagination, reason, and emotion--and answered them in ways that have created the conditions for our own late 20th-century sensibilities.  Our interpretive work will emphasize close and careful analysis of particular passages which we'll also read against the historical background provided in secondary sources, lectures, and group presentations.  Course requirements include regular participation, class presentations, midterm, final exam, and final paper..  Non-majors only, Registration Period 1. Texts: Blake, The Marriage of Heaven and Hell; Butler, Burke, Paine, Godwin, and the Revolution Controversy; Hume, Dialogues Concerning Natural Religion; Johnson, The History of Rasselas, Prince of Abyssinia; Pope, Essay on Man; Voltaire, Candide; Wordsworth and Coleridge, Lyrical Ballads; Wollstonecraft, A Vindication of the Rights of Woman; Coleridge, The Rime of the Ancient Mariner and Other Poems; Wordsworth, William Wordsworth: Favorite Poems; photocopied course packet; optional: Shelley, Selected Poems; Keats, Lyric Poems.

Dy 11:30
Societal Margins and Centered Selves: Relocating Authoirty and the Rise of Individual “Sovereignty.”  This course will introduce students to literature of 18th- and 19th-century Europe.  Special attention will be paid to changing ideas of the social and the self, the rapid growth of a new reading class, and the evolution of democratic societies.  Students will experience works by Locke, Swift, Voltaire, Goethe, Wordsworth, Shelley, and others.  Non-majors only, Registration Period 1. Texts: Lawall, Mack, et al., The Norton Anthology of World Masterpieces, Vol. 2 (7th ed.);  Jonathan Swift, Gulliver’s Travels.

213 A (Modern & Postmodern Literature)
Dy 12:30
Looking at 20th-century literary texts, we will consider how issues of race, nation, gender, class, and sexuality get articulated from modernity to postmodernity. Non-majors only, Registration Period 1. Texts: Joseph Conrad, Heart of Darkness; Ernest Hemingway, The Sun Also Rises; Meridel Le Sueur, The Girl; Nella Larsen, Passing; Joy Kogawa, Obasan; Toni Morrison, Beloved; Dorothy Allison, Bastard Out of Carolina; Michael Ondaatje, The English Patient.

213 B (Modern & Postmodern Literature)
MW 1:30-3:20
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: T. S. Eliot, Selected Poems; Joseph Conrad, Heart of Darkness; Virginia Woolf, The Waves; Franz Kafka, The Complete Stories; J. L. Borges, Labyrinths; Joseph & Karel Capek, R.U.R. and the Insect Play; Witold Gombrowicz, Cosmos and Pornographia Two Novels; Thomas Pynchon, The Crying of Lot 49.

225 A (Shakespeare)
Dy 12:30
This course will be an introduction to reading Shakespeare.  Students will be required to read and write intelligently about six demanding plays. Texts: Shakespeare, Troilus and Cressida; Measure for Measure; King Henry IV, Part I; King Henry IV, Part II; Antony and Cleopatra; King Lear; Rosenbaum, A Reader’s Guide to Shakespeare.

228 A (English Literary Culture: to 1600)
TTh 9:30-11:20
This course will survey the variety of English literature over a period of nearly a thousand years.  We will, necessarily, be selective, and our readings will mostly be substantial, representative works and authors (including ‘Anonymous’) from the Anglo-Saxon, Medieval, and Early Modern periods.  We’ll be asking ourselves, and the texts, how the meaning of ‘English’ became defined and changed during that millennium of change.  Although most of the works we’ll read will be ‘literary’ (and in modern—or modernized—English translations), the class will provide some introduction to the stages of older English languages and cultures.  There will necessarily be lots of reading.  Grades will be based on class participation, two in-class quizzes/mid-terms, and a final exam.  (The quizzes/exams will be a combination of short ‘identify and discuss briefly the significance of XXX’ and comparative essay questions.) Non-majors only, Registration Period 1.  Text: Abrams, et al., The Norton Anthology of English Literature, Vol. 1.

229 A (English Literary Culture: 1600-1800)
Dy 8:30
Beginning with Shakespeare’s late play, The Tempest, this course will trace several important socio-cultural and literary currents as they developed through our period of 1600-1800.  Using The Tempest to foreground these currents, we will read selected works to expand our understanding of how (1) geographic/colonial imagination, (1) language and especially print culture, and (3) women and their proper roles are central issues of the time as well as issues which changed over time as the culture became more recognizably “modern,” perhaps a dubious claim, and one we will need to test ourselves. Non-majors only, Registration Period 1. Texts: Abrams, et al., eds., Norton Anthology of English Literature, Volume 1, 7th ed.; Shakespeare, The Tempest.

229 B (English Literary Culture: 1600-1800)
Dy 11:30
This course surveys representative anthologized texts from the close of the Renaissance to the beginning of the Romantic era (1600 to 1800).  The writers to be studied include, but are not limited to: William Shakespeare, Lady Mary Wroth, John Donne, Ben Jonson, Aphra Behn, Andrew Marvell, John Milton, Jonathan Swift, Alexander Pope, and others.  The course goal is to gain a critical understanding of the texts in question through close reading.  Discussion and lecture are shaped to foster ways to experience the aesthetic pleasure of both content and form without losing sight of the literature’s valuable historical and cultural contexts.  Therefore, the course will explore diverse topics from the peculiarities of the period’s literary language to the period’s shifting views on social order; from issues of sexuality, gender and race to theatre architecture and audience behavior; from problems of nonvisual imagery to the basics of prosody. Non-majors only, Registration Period 1. Text: Abrams, et al., Norton Anthology of English Literature, Vol. 1.

230 A (English Literary Culture: after 1800)
TTh 1:30-3:20
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.  Texts: Longman Anthology of British Literature, Vol. 2; Poole, What Jane Austen Ate and Charles Dickens Knew.

242 A (Reading Fiction)
Dy 8:30
(W; SL)
AIDS Fictions and the Fictions of AIDS.  Essex Hemphill, author of several books of poetry including Ceremonies, says that artists “are individually constructing survival grief” when they integrate AIDS and creative processes.  He insists, “With my hand, maybe I can remember a Donald or a Joe.  I can’t be sure that the state’s going to remember, or their families are going to really care, or that anyone else will remember, but I remembered and it meant something to me, the love we had as friends or however that love may have manifested itself.”  In this course we will explore the diverse ways that authors in this decade have attempted to manipulate, to control, and to represent what they experience as AIDS.  Focusing on conventional approaches to studying literature—such as plot and structure, point of view, setting, imagery, metaphor and simile, symbolism and allegory—we will consider the possible ways that AIDS has both compelled and enabled authors to experiment with, reinvent, and redefine their formal literary concerns.  In addition, we will examine the possibilities that the fiction of AIDS—the “literature” written in response to AIDS—will one day offer or provide future generations significant keys to understanding the cultures and societies of our time in a framework far broader than the “literary” one.  Texts: Barbara Lazear Ascher, Landscape Without Gravity; John Berger, To the Wedding; Susan Bergman, Anonymity; Rebecca Brown, The Gifts of the Body; Michael Cunningham, A Home at the End of the World; Herve Guibert, To the Friend Who Did Not Save My Life; Harry Kondoleon, Diary of a Lost Boy; Paul Monette, Borrowed Time: An AIDS Memoir; Marilyn F. Moriarty, Moses Unchained; Leslea Newman, Still Life with Buddy; Dale Peck, Martin and John; Reynolds Price, The Promise of Rest; Edgar V. Roberts, Writing About Literature; Charlotte Sherman, Touch; Judith Pastore, ed., Confronting AIDS through Literature: The Responsibilities of Representation; Murphy & Poirier, eds., Writing AIDS: Gay Literature, Language, and Analysis; Sontag, Illness as Metaphor and AIDS and its Metaphors. NOTE: Please do not purchase course texts in advance of either receiving the syllabus on the first day of instruction or checking instructor’s home page for Winter 2000. 

242 B (Reading Fiction)
Dy 9:30
Narrative and Identity.  In this class we’ll read novels and short stories that suggest the power of fictional narratives to structure personal identity and social relations.  As we do so we’ll examine how writers use narrative form to explore the complexities of identity and consciousness.  Course requirements include active participation, short papers, a midterm, and a final. Texts: Paul Auster, City of Glass; Danzy Senna, Caucasia; J. M. Coetzee, Waiting for the Barbarians; Virginia Woolf, Mrs. Dalloway; Edith Wharton, Summer.

242 C (Reading Fiction)
Dy 11:30
--withdrawn 10/15--

242 D (Reading Fiction)
Dy 12:30
The Modern Experiment.  This course offers an introduction to some of the most interesting and provocative novels of the first half of the twentieth century: James Joyce’s A Portrait of the Artist as a Young Man, Jean Toomer’s Cane; Virginia Woolf’s To the Lighthouse, William Faulkner’s The Sound and the Fury, and Djuna Barnes’ Nightwood.  We will study these innovative responses to the challenges of modernity, with attention to experimental narrative form and the representation of pressing social issues.  We will also work to develop the critical reading skills that heighten the appreciation of literature.  The required reading includes the novels above and a photocopied course packet.

242 E (Reading Fiction)
Dy 11:30
Rebels and Outsiders in American Fiction.  This is an introductory course in reading and writing about American fiction in a variety of genres, styles, and historical eras.  We will examine short stories and novels that, in some way, question, resist or challenge types of authority in “mainstream” American society.  In the process, we will discuss how their particular narrative strategies shape the form and content.  Requirements will include short response papers, two longer essays, and class discussion. Added 10/15; sln: 8399. Texts: Nathaniel Hawthorne, The Scarlet Letter; Abraham Cahan, Yekl and the Important Bridegroom and Other Stories of Yiddish New York; Edith Wharton, The House of Mirth; Zora Neale Hurston, Their Eyes Were Watching God; Sherman Alexie, The Lone Ranger and Tonto Fist Fight in Heaven.

242 U (Reading Fiction)
MW 7-8:50 pm
The Modern Experiment.  This course offers an introduction to some of the most interesting and provocative novels of the first half of the twentieth century: James Joyce’s A Portrait of the Artist as a Young Man, Jean Toomer’s Cane; Virginia Woolf’s To the Lighthouse, William Faulkner’s The Sound and the Fury, and Djuna Barnes’ Nightwood.  We will study these innovative responses to the challenges of modernity, with attention to experimental narrative form and the representation of pressing social issues.  We will also work to develop the critical reading skills that heighten the appreciation of literature.  The required reading includes the novels above and a photocopied course packet.

250 A (Introduction to American Literature)
TTh 10:30-12:20
This course will attempt to introduce students to American literature by focusing on a major theme in nineteenth- and twentieth-century writing: the self-made individual.  We will read a number of novels that attempt to promote, amend, or challenge this concept.  General discussion and group work, as well as in-class writing exercises and two longer out-of-class papers will be required.  Non-majors only, Registration Period 1.  Texts: Horatio Alger, Ragged Dick; F. E. Watkins Harper, Iola Leroy; William Dean Howells, The Rise of Silas Lapham; James Weldon Johnson, Autobiography of an Ex-Colored Man; Edith Wharton, House of Mirth; Anzia Yezierska, Bread Givers; F. Scott Fitzgerald, The Great Gatsby; Jose Maria Willareal, Pocho; Gish Jen, Typical American.

250 B (Introduction to American Literature)
Dy 1:30
In this class we will consider how various issues of U.S. identity, including race, class, gender, and sexuality, get expressed through American literature. Non-majors only, Registration Period 1. Texts: Zora Neale Hurston, Their Eyes Were Watching God; Pietro diDonato, Christ in Concrete; Meridel LeSueur, The Girl; Hisaye Yamamoto, Seventeen Syllables and Other Stories; Russell Banks, Rule of the Bone; Marina Tamar Budhos, House of Waiting; Toni Morrison, Sula; Dorothy Allison, Bastard Out of Carolina.

257 A (Introduction to Asian-American Literature)
MW 1:30-3:20
Introductory survey of Asian-American literature provides introduction to Chinese, Japanese, Filipino, Korean, Hawaiian, South-Asian and Southeast-Asian literatures and a comparative study of the basic cultural histories of those Asian-American communities from the 1800s to the present.  Texts: Jessica Haggedorn, ed., Charlie Chan is Dead; Shawn Wong, ed., Asian American Literature; Gish Jen, Typical American.

281 A (Intermediate Expository Writing)
MWF 8:30
(Re)-Visioning Language.  In this section of ENGL 281, language will be both the medium and the subject of our inquiry.  As an intermediate expository writing class, the focus of our reading, writing and discussion will be the articulation of what makes the communicative process effective and persuasive.  The course will begin by looking at a variety of methods of textual analysis (linguistic, metaphoric and generic) in order to arrive at a more complete understanding of the art of argumentation.  Then we will consider the work of various language theorists to highlight the different ways language can be employed.  The course will be evaluated based on participation and on numerous formal and informal writing assignments that students will collect, revise and present along with an analysis of their work in a final portfolio.  Sophomores and above, Registration Period 1.  Text: photocopied course packet.

281 B (Intermediate Expository Writing)
MWF 9:30
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.

281 C (Intermediate Expository Writing)
MWF 10:30
This class is designed to hone skills in writing clear, effective, and critically interesting prose.  In this course, you will work on developing your analytical, argumentative writing skills in weekly response papers and two longer essays.  This section of 281 will focus on examining the connections between “work,” “gender,” and American identities throughout the 20th century.  We will read and write about literary, social scientific, and other cultural texts to explore how ideas of work relate to gender, class, race, and nationhood.  This focus means we will be looking critically at both constructions of “appropriate workers” and ideals of “Americanness” to trace the relationship between the “work ethic,” various kinds of work, and political and cultural citizenship. Sophomores and above, Registration Period 1. Texts: Meridel LeSueur, The Girl; Chester Himes, If He Hollers, Let Him Go; Lunsford & Connors, The Everyday Writer; photocopied course packet.

281 D (Intermediate Expository Writing)
MWF 11:30

[Writing papers communicating information and opinion to develop accurate, competent, and effective expression.] Sophomores and above only, Registration Period 1.  Text: Photocopied course packet.

281 E (Intermediate Expository Writing)
MWF 1:30
--Withdrawn 1 November 1999--

281 U (Intermediate Expository Writing)
TTh 7-8:30 pm
This course in which students will refine their composition skills, takes contemporary American fiction as its scene for critical interrogation and reflection.  Although the focus is on writing, the class involves a heavy reading load.  The texts comprise a broad surface through which to access contemporary concerns including technology, race, community and family, representations of masculinity and femininity; there is no strong thematic link between them.  Formal writing assignments will be due on a weekly basis, one long critical essay will be due at the end of the quarter, and active participation in discussion is required.  Portfolios will be used for evaluation. Sophomores and above, Registration Period 1.  Texts: Don DeLillo, White Noise; Toni Morrison, Beloved; Randall Keenan, A Visitation of Spirits; David Foster Wallace, Brief Interviews with Hideous Men; photocopied course packet.

283 A (Beginning Verse Writing)
MW 11:30-12:50
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. Text: Wallace & Boisseau, Writing Poems (4th ed.)

283 B (Beginning Verse Writing)
TTh 9:30-10:50
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. Text: Nims, ed., Western Wind.

284 A (Beginning Short Story Writing)
MW 9:30-10:50
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.  Text: photocopied course packet. English majors only, Registration periods 1 & 2.

284 B (Beginning Short Story Writing)
TTh 1:30-2:50
During this course we will learn about the writing of short stories through the careful analysis of several important contributing elements; these include, among others: character development; plot structure; point of view; dialogue; sentence structure and variation; finally the workshopping method of story critique.  We’ll approach these elements via three essential daily practices: writing, reading, and discussion.  English majors only, registration period 1No texts.

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