(Descriptions last updated: 10 September 2004)
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.)
All English classes, 300-level and above, require instructor permission for registration during Registration Period 3 (beginning the first day of classes). If students have not registered for a class prior to the first day, they should attend the first class meetings and/or contact the instructor to obtain the necessary add codes.
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.)
Upper Division (300-level) creative
Students who have completed the prerequisites to 300-level creative writing classes as listed in the Time Schedule may register via MyUW during Registration Periods 1 and 2 (during Registration Period 3, admission is by instructor permission only, and any add codes available may be obtained from the instructors at that time). Students who believe they have met the prerequisite requirements but are unable to register through MyUW should contact the Creative Writing office (B-25 PDL) or the English Advising office (A-2-B Padelford) for further information.
302 A (Critical Practice)
This course provides theoretical basics and practical training in the analysis of narrative form. The class will study four major novels and learn to apply key critical concepts associated with the poetics of the novel (story and plot, reliable and unreliable narrators, modes of narration, framing and embedding, point of view, modes of consciousness, irony, defamiliarization, intertextuality). Please note: ENGL 302 is an introduction to advanced literary analysis. Discussion will proceed not book by book but according to the categories of narrative poetics, so participants must read all four required novels and at least one of the recommended books of criticism before the first meeting. Many short assignments, midterm and final. Texts: required: Jane Austen, Emma; Gustave Flaubert, Madame Bovary; John Fowles, The French Lieutenant’s Woman; Virginia Woolf, Mrs. Dalloway; recommended: Seymour Chatman, Story and Discourse; David Lodge, The Art of Fiction; Shlomith Rimmon-Kenan, Narrative Fiction: Contemporary Poetics.
316 A (Literature of Developing Countries)
Literatures of the Caribbean and Caribbean Diaspora. In this discussion-oriented course we will be exploring the historical, cultural, social, and political nuances of Caribbean literatures in order to better understand the politics of colonialism, cultural conflict, displacement and diaspora. We will be reading novels and short stories, as well as screening films and engaging with literary and political criticism. The texts we will read and discuss thematize issues of gender, sexuality, colonial history and imperialism, power relations, and patriarchy. Students who enroll in this class much be willing to discuss these issues in class. Texts: George Lamming, In the Castle of my Skin; Earl Lovelace, Salt; D. Harris, Web of Secrets; J. Lowe Shinebourne, The Last English Plantation; Lakshmi Persaud, For the Love of my Name; S. Brown & J. Wickham, eds., Oxford Book of Caribbean Short Stories.
322 A (English Literature: The Age of Queen Elizabeth)
[The golden age of English poetry, with poems by Shakespeare, Spenser, Sidney, and others; drama by Marlowe and other early rivals to Shakespeare; prose by Sir Thomas More and the great Elizabethan translators.] Majors only, Registration Pd. 1. Texts: Norton Anthology of English Literature, Vol. 1B; Machiavelli, The Prince; More, Utopia; Julia Briggs, This Stage Play World.
323A (Shakespeare to 1603)
[Shakespeare’s career as dramatist after 1603. Study of comedies, tragedies, and romances.] Majors only, Registration Pd. 1.
324 A (Shakespeare after 1603)
[Shakespeare’s career as dramatist after 1603. Study of comedies, tragedies, and romances.] Majors only, Registration Pd. 1. Text: Bevington, ed., Complete Works of Shakespeare.
324 TS (Shakespeare after 1603)
TTh 4:30-6:20 pm
[Shakespeare’s career as dramatist after 1603. Study of comedies, tragedies, and romances.] Evening Degree students only, Registration Periods 1 & 2.
325 A (English Literature: The Late Renaissance)
A few years before the English Revolution, the poet John Milton published a startling claim: that the English state and church, overturning their current practice, should legalize and facilitate divorce. Some of Milton’s reasoning, for modern readers, comes as equally startling: according to him, divorce was legitimate because it had been permitted among the ancient Hebrews in the Old Testament. Did Milton advocate divorce because it was new, then, or because it was old? The literature of the seventeenth century constantly provokes us to ask that question on a wider scale, as writers of all kinds loudly called their readers back to the future, or onward to the past. In this class we take up their strident invitation, reading widely in lyric poetry, the epic, the novel, and philosophical and religious prose. While these primary texts will be our first concern, we will also pay attention to the great social changes that made seventeenth-century people feel they faced a world of the radically new; religious conflict, political revolution, world exploration, and novel scientific theories about nature and humanity. Conversely, we will explore the seventeenth century’s sources of the old: in addition to English literary tradition, many writer thought deeply about the world of the Bible, the classical world of the ancient Greeks and Romans, and the semi-mythical British past. With these tools in hand, we will seek to understand the imaginative life of a culture in which writers worked so ardently to define their own places in history. Readings will include John Donne, Francis Bacon, John Milton, Lucy Hutchinson, Aphra Behn, the Earl of Rochester, and John Dryden. Majors only, Registration Pd. 1. Texts: Rudrum, et al., eds., The Broadview Anthology of Seventeenth-Century Verse and Prose; Aphra Behn (ed. Todd), Oroonoko, The Rover, and Other Works; photocopied course packet.
326 A (Milton)
[Milton’s early poems and the prose; Paradies Lost, Paradise Regained, and Samson Agonistes, with attention to the religious, intellectual, and literary contexts.] Majors only, Registration Pd. 1.
328 A (English Literature: Later 18th C.)
The eighteenth century was known to Europeans as the "Enlightenment" and "Age of Reason," but before the century was over the self-conception implied by these terms had already become subject to question, even derision. This course will focus on some of the literary manifestations of the underside of the Age of Reason, such as the fascination with terror, the celebration of the primitive, the cultivation of extreme sensibility, and the expression of morbid self-reflection. Readings will include a short Gothic fiction, the exemplary Sturm-und-Drang novel, Edmund Burke on the sublime, and selections from the "Graveyard Poets" and other poetry. Attention will also be given to late eighteenth-century architecture (by Claude-Nicolas Ledoux and Étienne-Louis Boullée) and engravings (by William Hogarth, Giovanni Battista Piranesi, and Francisco de Goya). See course web page. Majors only, Registration Pd. 1. Texts: Walpole, Castle of Otranto; Goethe, Sorrows of Young Werther.
330 TS (English Literature: The Romantic Age)
TTh 7-8:50 pm
Just imagine-a world in which you see enormous change, that seems to offer a new intellectual and political freedom and empowerment, that has finally figured out both exactly what is wrong and how to rebel against it. All around you things are in flux. In America the colonists seized their chance to throw out the English; in Europe the people of France have similarly risen in rebellion and thrown off the yoke of their aristocrats' oppression as well. Everything, for a while, offers the heady promise of new beginnings.
What can poets do in a world so new, so dynamic, so changing? What new powers do they feel? What new boundaries will they cross? Whether in the poetically revolutionary work of Wordsworth and Coleridge, or in the far more ironically distanced work of Keats and Byron, these poets test limits, look for new ways of thinking and writing. In this class we'll read these and other major English poets of the romantic age, and we'll look to find where and how their poetry records both their aspirations for a new world order and their disappointments when their hopes are dashed.
As you think about whether to enroll, know that a big part of what we’ll do here is poetry. I know many students haven’t had much experience as readers of poetry – but this stuff really is fun to read, and if you haven’t much experience, it’s a great place to become a reader of poetry. In lots of ways, in fact, much of what our culture thinks poetry is was developed by these poets, and we’ll take this opportunity to think about that as well!
For the Romantic Age in some ways has never ended – we still have movies
and novels and poems that do their best to continue its themes. And that, finally,
will be the other major focus of the course: Where does the Romantic Age still
survive, and what are its new guises? Evening Degree Students only, Rigistration
Periods 1 & 2. Texts: The Norton Anthology of
English Literature, Vol.
2A; Breunig, The Age of Revolution, 3rd ed.; photocopied course packet.
332 TS (English Literature: Romantic Poetry II)
MW 4:30-6:20 pm
[Byron, Shelley, Keats, and their contemporaries.] Evening Degree students only, Registration Periods 1 & 2.
333 A (English Novel: Early & Middle 19th C.)
Most people who have never read Mary Shelley’s Frankenstein – and many who have – fail to put the correct name on the Monster. Why? Well, first of all, he hasn’t any name. What a start in life! No name. In traditional usage that expression – “no name” – would mean that he is (pick your favorite euphemism) Illegitimate. This, or something very much like it, is the starting point of many notable careers in 19th-century fiction where we are obliged to follow the trajectory of numerous orphans and bastards whose initial grip on personal identity is thin. They hardly can be said to have names. Dickens’ Great Expectations begins with a boy whose first and last names collapse into a single syllable – Pip – examining the names of his all-but-forgotten parents on their tombstone. He is never called by his father’s family name. Our close reading of four novels written in the first half of the 19th century will permit us to observe the making of a modern identity from which we, at the beginning of the 21st century have not emerged. Who we are and who we are to become depends – or so the story goes – more on our education than on birth and name. This will, then, be a study of education, identity, and the English novel. Lecture and discussion, short essays on each novel with a comprehensive essay at the end of the quarter. Majors only, Registration Pd. 1. Texts: Jane Austen, Emma; May Shelley, Frankenstein; Charlote Brontë, Jane Eyre; Charles Dickens, Great Expectations; supplementary readings on Electronic Reserve.
334 A (English Novel: Later 19th C.)
Individualism in an Expanding–Systems World. Individualism is a leading value in Victorian literature and culture. At the same time the Victorian period is characterized by large, expanding systems that suggest impersonality and dwarfing and limiting of individual power. Such a tension is not resolved, rather it is acute in our own time. We can ring very current 21st-century interests to critical analysis and literary appreciation of 19th-century fiction. Lewis Carroll’s Alice is an intrepid adventurer into her own dream realm, yet finds herself a Pawn in a chess-board world. George Eliot’s characters seek their wyas in the midst of an all-encompassing many-pointed, always changing social “web.” The expanding systems of the Victorian age include expanding democracy and widening of horizons by gender and class, increasingly mass communications, globalizing capitalism, and empire. In Darwin’s biological theory Victorians confronted another big-system vision of interlocking forces shaping whole species and the individuals within them.
Using the section titled “Of Individuality” from J. S. Mill’s famous essay, “On Liberty” as a keynote, the course begins with Carroll’s classic fantasy fiction, Alice Through the Looking-Glass. It proceeds to provide background on capitalist and Darwinian theories (with brief sample readings via in-class handouts), and background on political, economic, and imperial developments. It moves to Anthony Trollope’s charming if rueful realist novel, The Warden, about the impact of a new order of things upon a member of the “old guard.” This is followed by Eliot’s Middlemarch, a great signature work of Victorian realism and example of the “bildungsroman” about young women and men making their ways within a richly detailed social environment of multiple changing systems. This long, comprehensive work provides a centerpiece amongst the rest of the smaller-scale readings in the course. From it we move to fictions of foreign adventure and empire in both realistic and more comic/entertainment and symbolic/experimental/critically probing modes. These are the stores “Youth” by Joseph Conrad and a tale by Rudyard Kipling, "The Man Who Would Be King” (with film clips featuring Sean Connery), and Conrad’s somber while enduringly provocative novella “Heart of Darkness” (with clips from Francis Ford Coppola’s Apocalypse Now!, influenced by Conrad). We will return at the end for summing up to Alice.
Format: Lecture/Discussion. In-class engagement is expected; standout contribution can weigh in the overall grade. Midterm essay and in-class final (30% each – likely final format is short answers and longer essay. Note you must be available on the UW-designated day-time-of-final.). Course paper (40%, @ 8 pp.). Majors only, Registration Pd. 1.
Texts: Lewis Carroll, Alice in Wonderland (incl. Through the Looking Glass) (ed. Gray); George Eliot, Middlemarch; John Kucich, ed., Fictions of Empire; J. S. Mill, On Liberty and Other Writings (ed. Collini); Anthony Trollope, The Warden.
336 A (English Literature: The Early Modern Period)
This class will focus on the relationship between literary modernism and social change in England during the first third of the 20th century. We will read novels by D. H. Lawrence, E. M. Forster, Jean Rhys, and Virginia Woolf; short stories by Katherine Mansfield; and poetry by T. S.Eliot, and a number of other poets of World War I. Majors only, Reg. Period 1. Texts: D. H. Lawrence, The Rainbow; E.M. Forster, Howard’s End; Katherine Mansfield, Stories; T. S. Eliot, The Waste Land and Other Poems; Virginia Woolf, Mrs. Dalloway; Candace, Ward, ed., World War One British Poets; Jean Rhys, Voyage in the Dark.
337 A (The Modern Novel)
“Literature doesn’t matter!” wrote Delmore Schwartz. “The only thing that matters is money and getting your teeth fixed. Schwartz was a genius who could say what he wanted, but some questions remain: What is the importance of literature? And how does the Anglo-American literature of the first half of the twentieth century differ from what comes before and after it? In an attempt to answer these questions, we’ll read works by William Faulkner, Virginia Woolf, P. G. Wodehouse, Evelyn Waugh, Nathaniel West, and Malcolm Lowry. A course packet will supplement the assigned novels. The reading will be a pleasure, I think, but be forewarned: there’s a lot of it. Other assignments include a midterm exam, a final paper, and a series of short written responses. Majors only, Registration Pd. 1. Texts: Faulkner, As I Lay Dying; Wodehouse, Life with Jeeves; Woolf, Mrs. Dalloway; Waugh, The Loved One; West, Miss Lonelyhearts & The Day of the Locust; Lowry, Under the Volcano.
340 A (Modern Anglo-Irish Literature)
This course will study James Joyce’s Ulysses in relation to Irish literary culture around the turn of the twentieth century (Yeats, Synge, Wilde, Irish myth and popular culture). We’ll begin by reviewing Joyce’s achievement in Dubliners and A Portrait of the Artist as a Young Man, and then we’ll study Ulysses chapter by chapter, paying close attention to Joyce’s methods of composition and reveling in Joyce’s comic transvaluations of all novelistic values and cultural agendas. The course will provide an introduction to the consummate artist of literary modernism, and sharpen your understanding of the national and European horizons of Joyce’s art. There will be many short assignments and a comprehensive final. The reading list is extensive and very challenging. Students should use the summer vacation to read Joyce’s early fiction (Dubliners and A Portrait of the Artist), Yeats’s early poetry and prose, and The Odyssey. Majors only, Registration Pd. 1. Texts: Joyce, A Portrait of the Artist as a Young Man; Dubliners, Ulysses: The Corrected Text; W.B. Yeats, Early Poems; Mythologies; John M. Synge, The Playboy of the Western World; recommended: Yeats, Autobiographies.
342 A (Contemporary Novel)
“Mapping the Invisible Landscape”: Reframing Terrain in Contemporary American Novels Adapted to Film.
"The test of imagination, ultimately, is not the territory of art or the territory of the mind, but the territory underfoot. That is not to say that there is no territory of art or of the mind, only that it is not a separate territory. It is not exempt either from the principles above it or from the country below it. It is a territory, then, that is subject to correction—by, among other things, paying attention. To remove it from the possibility of correction is finally to destroy art and thought, and the territory underfoot as well." --Wendell Berry, “Writer and Region”
This is a course that asks you to reassess the function of and approaches to reading setting in contemporary American fiction adapted to film. All of the novels we’ll attend to center on a journey/odyssey motif, literally or symbolically, and all were eventually adapted to film. We will discuss the individual authors and their thematic content, focusing especially on setting and its narrative effect. Foremost, this is a course about contemporary fiction and narrative restyling. It asks you to think about what happens to the reading experience when conventional verbal narratives are reframed into multimedia formats. Assuming that we as contemporary readers have arrived at a millennial crossroads of textual technique--the divide that perhaps all too easily separates Gutenberg print advocates from fans of digital imaging--I’d like for us to review what’s at stake aesthetically and culturally as we read both the spine-bound novels and their film adaptations. Are we as consumers of filmed stories simply being fast forwarded? Are we sensually saturated and thus psychologically seduced? Or do we ourselves reformat our reading journeys of contemporary American travelers into entirely different aesthetic and responsive terrains? Can narrative remapping reroute the sentimental into the transcendental. Requirements include active participation in class discussion sessions, writing reflective reviews and assessments, a final project/exam, and possible creatively critical small-group projects relating to voice annotation of filmed clips (No prerequisite in film theory/filmmaking necessary). Majors only, Registration Pd. 1. Texts: following are novels that I hope to use and have ordered; based on their availability at publishing houses, I may have to substitute others: Barry Gifford, Wild at Heart: The Story of Sailor and Lula; Cormac McCarthy, All the Pretty Horses; James Dickey, Deliverance; David Seals, The Powwow Highway: A Novel; Dennis Lehane, Mystic River; Robert James Waller, The Bridges of Madison County.
351 A (American Literature: The Colonial Period)
We’ll read and discuss an assortment of novels, memoirs, sermons, journals, treatises and other writings by American authors of the Colonial and Early National periods. Students will be expected to attend class regularly, keep up with reading assignments, and take part in open discussion. Written work will consist entirely of between five and ten brief in-class essays done in response to study questions handed out in advance. Majors only, Registration Pd. 1. Texts: John Tanner, The Falcon: A Narrative of the Captivity and Adventures of John Tanner; Benjamin Franklin, The Autobiography and Other Writings; Michael Kammen, ed., The Origins of the American Constitution; Charles Brockden Brown, Wieland; Susanna Rowson, Charlotte Temple and Lucy Temple; Hector St. John de Crevecoeur, Letters from an American Farmer and Sketches of 18th-Century American Life; Hannah Foster, The Coquette; Washington Irving, The Sketch Book of Geoffrey Crayon.
352 A (American Literature: The Early Nation)
[Conflicting visions of the national destiny and the individual identity in the early years of America’s nationhood. Works by Emerson, Thoreau, Hawthorne, Melville, and such other writers as Poe, Cooper, Irving, Whitman, Dickinson, and Douglass.] Majors only, Registration Pd. 1. Texts: Melville, Moby-Dick; Douglass, Narrative of the Life of Frederick Douglass; Poe, Selected Tales; Whitman, Complete Poems; Zinn, People’s History.
352 TS (American Literature: The Early Nation)
MW 7-8:50 pm
Conflicting visions of the national destiny and the individual identity in the early years of America's nationhood Evening Degree students only, Registration Periods 1 & 2. Texts: Margaret Fuller, Summer on the Lakes; Frederick Douglass, The Narrative of the Life of Frederick Douglass, An American Slave; Henry Thoreau, The Portable Thoreau; Nathaniel Hawthorne, The Portable Hawthorne; Ralph Waldo Emerson, Selections; Herman Melville, Moby-Dick.
353 A (American Literature: Later 19th C.)
Reading Walt Whitman for a week or two may change one’s life – reason enough (and there are many more) for a course such as ours to start with him. We’ll then move on to Emily Dickinson, Herman Melville, Stephen Crane, Edith Wharton, Edwin Arlington Robinson, Frank Norris, and others. We’ll try to identify some common preoccupations among our writers; we’ll also discuss what makes each writer so odd and enduring. Expect a tremendous amount of reading, a midterm exam, a final paper, and a variety of shorter writing assignments. Majors only, Registration Pd. 1. Texts: Hollander, ed., American Poetry: The Nineteenth Century, Vol. 2: Melville to Stickney, American Indian Poetry, Folk Songs and Spirituals; Walt Whitman, Leaves of Grass; Herman Melville, Bartleby and Benito Cereno; Frank Norris, McTeague; Stephen Crane, The Portable Stephen Crane; Edith Wharton, Roman Fever and Other Stories.
354 A (American Literature: The Early Modern Period)
Difficult Modernists. Using difficulty as a rubric, this course brings together the works of six modernist authors – Marianne Moore, Muriel Rukeyser, Gertrude Stein, Jean Toomer, William Faulkner, and Richard Wright. We’ll spend the quarter closely examining these authors’ texts as a way to come to terms with some of the characteristics and concerns of American literary modernism. We will also interrogate the concept of difficulty. What is it about these texts that we register as difficult? Are all of these texts difficult in the same way? What cultural, social, political, and economic factors engender or contribute to the production of this difficult literature? What tactics and strategies do we use to unpack difficult literature? In addition to performing our own close readings of the primary course material, we will read theory and critical essays as a way of provoking debate about the literature under study. This course demands your consistent and active verbal participation. Writing assignments will include formal response papers and a long analytical essay. Majors only, Registration Pd. 1. Texts: Jean Toomer, Cane; Hart Crane, The Bridge; William Faulkner, Absalom, Absalom!; Gertrude Stein, Three Lives & Tender Buttons.
358 A (Literature of Black Americans)
MW 1:30-3:20, F 1:30-2:20
[Selected writings, novels, short stories, plays, poems by Afro-American writers. Study of the historical and cultural context within which they evolved. Differences between Afro-American writers and writers of the European-American tradition. Emphasis varies. Offered: jointly with AFRAM 358.] Added 7/12; sln: 9395. Texts: Zora Neale Hurston, Their Eyes Were Watching God; Ralph Ellison, Invisible Man; Nella Larsen, Quicksand and Passing; Gwendolyn Brooks, Maud Martha; Toni Morrison, Sula; Charles Johnson, Oxherding Tale.
359 A (Contemporary American Indian Literature)
[Creative writings -- novels, short stories, poems -- of contemporary Indian authors; traditions out of which they evolved. Differences between Indian writers and writers of the dominant European/American mainstream. Offered: jointly with AIS 377.]
361 A (American Political Culture: After 1865)
To get under the surface of American political culture, we’ll use the idea of the political unconscious to explore some of the energies, practices, and emotionally charged images the guardians of official culture need to repress, deny, minimize, or marginalize in order to sustain the approved sense of America as the redeemer nation. The challenge in the course is to probe the underside of American political culture to see if Lincoln’s view of America as an unfinished experiment dedicated to actualizing the values of life, liberty, and equality in a government “of the people, by the people, for the people”—to see if the values of the Declaration and the Gettysberg Address can withstand the pressure of the kind of intense criticism generated by some of our most powerful and perceptive writers. Selected secondary studies will provide a context. In class we’ll concentrate on three major areas—race, American empire and imperialism, and those tendencies in America that confirm Isabel Allende’s view that every democracy has within it powerful fascist elements. Through independent projects, students are encouraged to go more deeply than in class into one of our major areas. I hope for active class discussion of issues and texts I continue to find controversial and disturbing. Majors only, Registration Pd. 1. Texts: Lincoln, Selected Speeches and Writings; Dixon, Reconstruction Trilogy; Legion for the Survival of Freedom; Melville, Billy Budd; Miller, The Crucible; Dos Passos, The Big Money; Zinn, People’s History; recommended: DuBois, Writings; Hartmann, Unequal Protection.
363 A (Literature & the Other Arts and Disciplines)
M WThF 10:30-11:20
Freud and the Literary Imagination. This course will examine a set of central themes that emerge from Sigmund Freud's theories of the dream, the nature of literary creativity, the operation of the human psyche, and the substance of human culture. We will take as our starting point the hypothesis that Freud conceives the psyche as a kind of writing machine, an "author" that produces fictional narratives that share many properties with the prose fiction generated by creative writers. For this reason, our focus throughout the quarter will be restricted to prose narratives (by authors such as Kafka, Mann, Bachmann, Hofmannsthal, etc.). The course will concentrate on literature produced in the wake of Freud's theories, that is, on texts that consciously or unconsciously develop Freudian ideas. The class will be structured around a set of themes that will be developed on the basis of paired readings: in each case we will first examine a text or excerpt from Freud's psychological works, then we will read a literary work that exemplifiees the issue or issues highlighted in Freud's theory. Theme 1: The Psyche as Writing Machine; Theme 2: Freud's Understanding of Literary Creativity; Theme 3: The Oedipus Complex; Theme 4: Eros and Thanatos; Theme 5: Repression and Social (Dis)Order; Theme 6 The Uncanny and the Literary Fantastic; Theme 7: Freud and Women: Neurosis and Repression. (Offered with GERMAN 390; readings are in English translation.)
370 A (English Language Study)
MW 10:30 (lecture; quizzes: MW 11:30; 12:30; 2:30
firstname.lastname@example.org This course is an introduction to the formal and empirical study of language, with an emphasis on English. We’ll study the sound system through phonetics and phonology, how words are formed through morphology, how we build clauses with words and phrases in syntax, how we make meaning in semantics and then turn to the social side and study the history of the English language, sociolinguistics and U.S. dialects and social interaction in discourses. With each linguistic level (e.g., phonetics, phonology, etc.) we will start with formal analysis and then in your quiz sections we’ll read an article or two illustrating the usefulness of understanding the linguistic level and work through assigned problems. The course will include lecture, discussion, and workshops on linguistic problems. There will be homework, usually problem sets, and reading responses each week of class. Because there are right and wrong answers in this course (on the homework, on the tests), students may feel a decided contrast with English courses where reading and writing about reading dominates. If you’re planning to teach, though, you need to have this information well in hand to best serve the students of the multilingual cultures of Puget Sound. Homework, midterm, final, and a final paper will be the basis of the final grade. Majors only, Registration Pd. 1. Text: Finegan, Language: Its Use and Structure.
381 A (Advanced Expository Writing)
The Animal Other. This advanced writing course offers experienced writers the opportunity to refine their writing skills by considering representations of the animal in literary, philosophical, and filmic texts. We will examine what the animal is, or means, because, as theorist Cary Wolfe claims, the question of the animal is “perhaps the central problematic for contemporary culture and theory.” By engaging the question of the animal we will participate in current debates about the construction of identity, both human and animal. Raeading practices in this course willfocus on closely examining how authors use language to persuade and affect their readers. Writing tasks will include daily responses to the readings, experimentation with three distinct kinds of writing (the academic essay, the personal narrative, and the editorial or polemical opinion piece), and participation in workshop-style editing and revision. Students should be prepared to think critically about the animal as a conceptual framework and be willing to engage in careful scrutiny of their own and their peers’ writing. Majors only, Registration Period 1. Texts: J. M. Coetzee, The Lives of Animals; Paul Auster, Timbuktu; Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness; Jeffrey Moussaieff Masson, Susan McCarty, When Elephants Weep: The Emotional Lives of Animals Joseph M. Williams, Style: Ten Lessons in Clarity and Grace.
381 B (Advanced Expository Writing)
[Concentration on the development of prose style for experienced writers.] Majors only, Registration Period 1.
383 A (Intermediate Verse Writing)
Students will begin by doing some exercises to discover material, move on to writing poems, and end by revising their most promising work. Throughout the quarter we’ll be examining closely a number of poems notable for their music, imagination, and humor. The goal is for students to learn to listen to poems, their own and others’, line by line, word by word, sound by sound. Class participation will count for 50% of the final grade. Prerequisite: ENGL 283. Majors only, Registration Period 1.
383 B (Intermediate Verse Writing)
[Intensive study of the ways and means of making a poem. Further development of fundamental skills. Emphasis on revision. Prerequisite: ENGL 283.] Majors only, Registration Period 1. No texts.
384 A (Intermediate Short Story Writing)
Dozens of brief reading assignments and several brief writing assignments, all in the service of learning how to write more effective prose in a variety of forms and styles. Prerequisite: ENGL 284. Majors only, Registration Period 1.
Text: photocopied course packet.
384B (Intermediate Short Story Writing)
Dozens of brief reading assignments and several brief writing assignments, all in the service of learning how to write more effective prose in a variety of forms and styles. Prerequisite: ENGL 284. Majors only, Registration Period 1.
Text: photocopied course packet.
384 C (Intermediate Short Story Writing)
[Exploring and developing continuity in the elements of fiction writing. Methods of extending and sustaining plot, setting, character, point of view, and tone. Prerequisite: ENGL 284.] Majors only, Registration Period 1. Texts: Julie Checkoway, ed., Creating Fiction; Nicholas Delbanco, The Sincerest Form: Writing Fiction by Imitation.