300-level Courses

(Descriptions last updated February 13, 2001)

To Spring Quarter 200-level courses
To Spring Quarter 400-level courses
To 2000-2001 Senior Seminars"

304 A (History of Literary Criticism & Theory II)
MW 1:30-3:20
Contemporary literary theory and criticism develops through contestation and reworking of earlier philosophical ideas, and through dialogue with competing thought systems.  In this course we will explore several major theoretical debates by placing landmark texts by an array of theorists into conversation with one another.  Our readings will include works by structuralist, poststructuralist, Marxist, psychoanalytic and feminist thinkers.  We will focus on debates about the relationship between language and culture, authorship and meaning making, language and performance, and power and subjection.  Throughout the quarter we will ask: How has “theory” become the name for the interpretation of language and power in contemporary literary study?  What are the social, political, and intellectual stakes involved in different kinds of theorizing?  Theorists we will consider include Saussaure, Volosinov, Baudrillard, Barthes, Butler, MacKinnon, Austin, Fanon, Freud, Irigaray, Koffman, Foucault, Matsuda, Williams, Balibar, and Althusser, among others.  Texts: Michel Foucault, The History of Sexuality, Vol. 1; photocopied course packet.

310 A (The Bible as Literature)
Dy 9:30
An introduction to the Bible, with emphasis on its literary forms, especially narrative (biblical story), but also biblical poetry, oracles, epistles, apocalypse.  There will be some outside readings on history, geography, and culture, but the main focus is on reading the Bible as narrative and vision.  A good portion of each class session will be devoted to discussion of particular topics or study questions.  Daily preparation (reading the assigned text and background material, and thinking through literary problems), attendance, and active class participation are required.  Grades based on discussion, exams, and writing assignments, including short, in-class essays.  Texts: The New Oxford Annotated Bible With Apocrypha, “New” Revised Standard Version; Gable, Wheeler, & York, The Bible as Literature: An Introduction, 4th ed.

315 A (Literary Modernism)
TTh 10:30-12:20
Modernism and Romanticism: European literature from Goethe to Beckett. Texts: Beckett, Endgame; Kafka, The Metamorphosis; Mann, Death in Venice; Nietzsche, Twilight of the Idols and The Anti-Christ; Flaubert, Madame Bovary; Goethe, Sufferings of Young Werther; Turgenev, Fathers and Sons.

316 A (Literature of Developing Countries)
MW 10:30-12:20
Literatures from the South Asian Diasporas.  In the past decade or so, literature written in English by authors of South Asian descent (tracing ancestry from Sri Lanka, Pakistan, Bangladesh or India) have exploded the international literary marketplace with astounding success, professional accolades, and substantial profit.  Most famous among South Asian diasporic writers is perhaps Salman Rushdie, and more recent notable texts are Jhumpa Lahiri’s Interpreter of Maladies (Pulitzer Prize winner) and The God of Small Things by Arundhati Roy (Booker Prize winner).  Our class builds upon the popularity of South Asian writers as we read a number of novels, short stories, and essays that prioritize and critically interrogate issues of colonial legacies, cultural transformations, relationships of tradition and power, and social and political hierarchies.  Our focus will be on the movement of people, ideologies, and capital from country to country, and its corresponding and oftentimes complicated literary ruptures, rejections, and recreations – in short, the literary politics of the modern South Asian diaspora.  We will read three novels in the course, in addition to numerous short stories by Rushdie, Appachana, Naqvi, Lahiri, Kamani, Aziz, Singh Baldwin, Rustomji, Rau Badami, Maira and many others.  In reading these works, we will pay close attention to the politics of gender, race, class, sexuality, travel, nation, and power.  Texts: Shyam Selvaduri, Funny Boy; Bapsi Sidhwa, Cracking India; Shani Mootoo, Cereus Blooms at Night; photocopied course packet.

320 YA (English Literature: The Middle Ages)
MW 7-8:50 pm
This course will provide a lively and wide-ranging introduction to the literature of the Middle Ages, which will endeavor to place texts remote from our modern era in their social and historical contexts.  Students will read and discuss the best-known poems of the Old and Middle English periods (including Beowulf and Sir Gawain and the Green Knight), augmented by a number of noncanonical items as well as contemporary Celtic and medieval French texts.  The informing critical theme of the course will be the phenomenon of “syncretism,” the process of cultural accommodation that accounts for the fact, e.g., that the days of the week are named after pagan Norse gods.  There will be a mid-term, final, and major term paper.  Evening Degree students only, Registration Period 1. Texts: Beowulf (ed. & tr. Lehmann); Alfred the Great (tr. Simon Keynes); The Tain (ed. & tr. Kinsella); Sir Gawain and the Green Knight (tr. Tolkien); Christine de Pizan, Book of the City of Ladies (tr. Richards).

321 A (Chaucer)
TTh 12:30-2:20
This course offers a rigorous introduction to Geoffrey Chaucer’s Canterbury Tales, an extended exploration of late medieval literary traditions and the social contexts with which they were affiliated.  After learning to read and pronounce Chaucer’s English, we will proceed to a close analysis of the Tales, attending to questions of literary form and historical context. Majors only, Registration Period 1.   Texts: Chaucer, The Canterbury Tales (ed. Benson); The Canterbury Tales (trans. Wright).

322 A (English Literature: The Age of Queen Elizabeth)
TTh 9:30-11:20
The golden age of English poetry, with poems by Shakespeare, Spenser, Sydney, and others; drama by Marlowe and other early rivals to Shakespeare; prose by Sir Thomas More and the great Elizabethan translators.  Majors only, Registration Period 1.  Texts: John Hollander & Frank Kermode, eds., The Literature of Renaissance England; Ben Jonson, Three Comedies (ed. Jamieson); Machiavelli, The Prince; Sir Thomas More, Utopia; Shakespeare, Hamlet.

323 A (Shakespeare to 1603)
Dy 8:30
Study of Shakespeare’s poems and plays to 1603 with emphasis upon meter, rhythm, imagery, tone, explication, interpretation, reader-response, and student performance.  All students are required to perform memorized parts in a performance group that meets all quarter long.  Also required: discussion, written exercises, and two hour tests.  Meets five days a week.  A demanding course. Majors only, Registration Period 1.Texts: Shakespeare, The Poems; Midsummer Night’s Dream; Merchant of Venice; Henry V; Hamlet.

324 A (Shakespeare after 1603)
Dy 12:30
In this course we will examine the “problem” plays of Shakespeare’s later career: Cymbeline, The Winter’s Tale, Measure for Measure, and The Tempest (and probably King Lear, simply because I can’t help myself).  Students should expect periodic exams on the material, and two main papers.  Majors only, Registration Period 1.

324 B (Shakespeare after 1603)
TTh 1:30-3:20
No one has ever done it better or more consistently: blood, sex, war, hate, friendship—trouble!  We’ll visit the scenes of Shakespeare’s late plays, including Antony and Cleopatra, King Lear, The Winter’s Tale, and Pericles.  Lots of close attention to the language, lots of writing. Course packet required.  Majors only, Registration Period 1.

324 YA (Shakespeare after 1603)
MW 7-8:50 pm
[Shakespeare’s career as dramatist after 1603.  Study of comedies, tragedies, romances.] Evening Degree students only, Registration Period 1.

326A (Milton)
TTh 10:30-12:20
C. Fischer
--cancelled 2/5/01-- 

328U (Later 18th-Century Literature)
TTh 4:30-6:20 pm
Added 2/5/01.  SLN : 8326. [Classic age of English prose.  Essays, biography, criticism by Samuel Johnson, Oliver Goldsmith and others; comedies by Goldsmith and Richard Brinsley Sheridan; fiction by Henry Fielding and others; poetry by a variety of writers.]  Majors only, Registration Period 1. Texts:  David Hume, A Treaties of Human Nature; Samuel Richardson, Pamela, Or Virtue Rewarded; Henry Fielding, Joseph Andrews; with Shamela. Jonathan Swift, Gulliver's Travels; Tobiass Smollett, Humphry Clinker; Samuel Johnson, The History of Rasselas, Prince of Abissinia.

329 A (Rise of the English Novel)
TTh 12:30-2:20
Study of the development of this major and popular modern literary form in the eighteenth century.  Readings of the best of the novelists who founded the form, and some minor ones, from Defoe to Fielding, Richardson and Sterne, early Austen and the gothic and other writers.  Majors only, Registration Period 1.  Texts: Daniel Defoe, Robinson Crusoe; Journal of the Plague Year; Samuel Richardson, Clarissa; Jonathan Swift, Gulliver’s Travels; Samuel Johnson, The History of Rasselas Prince of Abissina; John Cleland, Fanny Hill.

330 A (English Literature: The Romantic Age)
TTh 9:30-11:20
Though the title of this class may suggest planning for one’s honeymoon, in fact, we will be traveling back in time (figuratively speaking) and into the minds of that solitary walker Rousseau and that Scandinavian sojourner, Mary Wollstonecraft.  This course also features the poetic outpourings of Blake, Coleridge, Wordsworth, Shelley, Byron and others, their visionary journeys to heaven and hell, around the world, as well as their more prosaic ventures closer to home.  Together, we will investigate the significance of geographic and metaphoric travel to the variously manifested romanticisms and in a variety of genres: long “epic’ poems, short ballads and lyrics, essays, and fiction.  This study will be situated within the historical contexts of the French Revolution and the Napoleonic Wars and within the artistic contexts—both musical and visual of this time.  Assigned work will include: two essays, a mid-term and final exam, group presentations, in-class writing, participation.  Majors only, Registration Period 1.  Texts: J. J. Rousseau, Reveries of a Solitary Walker; Mary Wollstonecraft, Letters written during a Short Residence in Sweden, Norway and Denmark; William Blake, Marriage of Heaven and Hell; Jane Austen, Pride and Prejudice; Stuart M. Curran, ed., The Cambridge Companion to British Romanticism.

331 A (Romantic Poetry I)
TTh 12:30-2:20
The tumultuous period spanning between the American and French Revolutions and the Napoleonic Wars produced a group of writers who later became identified as “Romantics.”  In this course we will study the poetry of “major” and less well-known writers, a variety of poetic forms (lyric, ode, sonnet, narrative) and dominant themes.  Please come prepared for much reading, writing, and discussing.  At least two essays, a midterm and final, a group presentation. Majors only, Registration Period 1. Texts: Duncan Wu, ed., Romanticism: An Anthology; Companion to Romanticism.

333 YA (English Novel: Early & Middle 19th C.)
TTh 7-8:50 pm
Few periods—including our own—can have seen such great and sudden changes as the first half of the 19th century in England.  Our task will in part be to chart those changes within the boundaries of the novel, the genre that would come to epitomize the age.  Like that other great signature of rapid change—the railroad—English fiction would transport all classes of people and pass through all terrain, urban and rural, where nothing would be left unseen or unaltered by its presence.  At the same time we will have to drop the industrial metaphor and learn to understand the art of the novel in its own terms.  The course will take its shape in lecture and discussion and a series of short essays.  Evening Degree students only, Registration Period 1.  Texts: Jane Austen, Emma; Mary Shelley, Frankenstein; Charlotte Brontë, Jane Eyre; Elizabeth Gaskell, Mary Barton; Charles Dickens, Hard Times.

334 A (English Novel: Later 19th C.)
Dy 10:30
This course offers a modest sampling of the rich abundance of the Victorian novel.  Attention will be given to the historical and philosophical backgrounds against which the novels appeared, as well as to the lives of their authors.  But the major emphasis will be on the aesthetic relation between content and form. Majors only, Registration Period 1.  Texts: A. Trollope, The Warden; C. Dickens, Great Expectations; G. Eliot, Middlemarch; T. Hardy, Jude the Obscure; O. Wilde, Picture of Dorian Gray; R. L. Stevenson, Dr. Jekyll and Mr. Hyde.

334 B (English Novel: Later 19th C.)
MW 1:30-3:20
This course will focus on issues of “self-making” as represented by a variety of narrative genres: a tightly plotted bildungsroman (Dickens’ Great Expectations), a sensation novel (Collins’ The Woman in White), a multi-plot, “loose baggy monster” that Virginia Woolf called “the first English novel for grown up people” (Eliot’s Middlemarch), a scandalous, decadent gothic novel (Wilde’s The Picture of Dorian Gray), and a novella of colonial terror that anticipates Modernism (Conrad’s Heart of Darkness).  Majors only, Registration Period 1.

335 A (English Literature: The Age of Victoria)
Dy 12:30
Among the poets and prose writers to be studied are Carlyle, Tennyson, Mill, Newman, Arnold and Ruskin.  They will be viewed in relation to what the historian G. M. Young called “A tract of time where men and manners, science and philosophy, the fabric of social life and its directing ideas, changed more swiftly perhaps, and more profoundly, than they have ever changed in an age not sundered by a political or a religious upheaval.”  Some of the recurrent topics will be: the reaction against the Enlightenment; rejections and revisions of romanticism; the nature of authority; the religion of work; the idea of a university. Majors only, Registration Period 1.  Text: Norton Anthology of English Literature, Vol 2B (“The Victorian Age”).

338 A (Modern Poetry)
Dy 8:30
In this course we will read closely key poems by English language poets of the first half of the century, including Auden, Bishop, Eliot, Frost, H.D., Lawrence, Lowell, Moore, Pound, Stevens, Williams and Yeats.  We will place them against the background of their critical pornouncements and theories of poetry and against the registers of earlier poets who influenced them.  For each of these poets the critical and theoretical project of "modernity" included the imperative to find in poetry the continuity of the Human, threatened by its evil twin, the transatlantic half-century maelstrom composed by the Great Depression, interwar totalitarianism and the Thirty Years' War.  Whether the project for all its grandeur was a success is arguable, but that it underwrote work of great urgency of purpose, artistic innovation and unspeakablel ambition is not.  Majors only, Registration Period 1.  Text: photocopied course packet of selected poems and essays.

343 A Contemporary Poetry)
TTh 1:30-3:20
American Poetry 1945-1975.  In the United States, the thirty years after World War II saw a remarkable, concerted effort on the part of young poets to revisit and superseded the modernist poetics of such forebears as Eliot, Pound, Stein, and Williams.  In other words, this generation was responsible for the emergence and consolidation of a self-consciously “postmodern” aesthetic in American verse.  We will be wrestling with the meaning(lessness?) of their “poetic postmodernism” by surveying several landmark books from the period and elucidating the implicit dialogue between them concerning the definition, purpose, and future of ambitious, innovative poetry in Cold War America.  We will be reading Robert Lowell’s Life Studies, Allen Ginsberg’s Howl, and Amiri Baraka’s Black Magic, as well as comparable texts by John Ashbery, Robert Creeley, Frank O’Hara, Sylvia Plath, and Adrienne Rich.  Majors only, Registration Period 1.  Texts: John Ashbery, The Tennis Court Oath;  Allen Ginsberg, Howl and Other Poems; Robert Lowell, Life Studies; Frank O’Hara, Meditations in an Emergency; Sylvia Plath, Ariel; Adrienne Rich, Diving into the Wreck; optional: Amiri Baraka, Transbluesency: Selected Poetry; Robert Creeley, Collected Poems.

344 A (20th-Century Dramatic Literature)
TTh 10:30-12:20

352 A (American Literature: The Early Nation)
MW 10:30-12:20
[Conflicting visions of the national destiny and the individual identity in the early years of America's nationhood.] Majors only, Registration Period 1.  Texts: Harriet Beecher Stowe, Uncle Tom’s Cabin; Harriet Jacobs, Incidents in the Life of a Slave Girl; Edgar Allan Poe, The Fall of the House of Usher and Other Tales; Nathaniel Hawthorne, House of Seven Gables; Herman Melville, Billy Budd and Other Stories.

352 B (American Literature: The Early Nation)
TTh 1:30-3:20
L. Fisher
In this class we will examine literature written by Americans in the years prior to the Civil War – a period distinguished for its growing attention to creating a distinctly American literary voice.  We will investigate the course texts as contributions to a developing culture, working together to come to some understanding of how the Republic’s early literature participated in the project of nation-building and how American writers placed themselves in this endeavor.  Majors only, Registration Period 1. Texts: Nina Baym, ed., Norton Anthology of American Literature, Vol. 1; Harriet E. Wilson, Our Nig; Nathaniel Hawthorne, The Scarlet Letter.

353 A (American Literature: Later 19th Century)
Dy 9:30
J. Griffith
We’ll read and discuss an assortment of novels, short stories, and sketches produced by American authors in the decades following the Civil War.  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 from five to ten brief in-class essays done in response to study questions handed out in advance. Majors only, Registration Period 1.  Texts: Judith Fetterly, ed., American Women Regionalists 1860-1910; Henry James, The Turn of the Screw and Other Short Fiction; William Dean Howells, The Rise of Silas Lapham; Kate Chopin, The Awakening and Selected Short Stories; Charles Chesnutt, The Marrow of Tradition: Mark Twain, Roughing It; Stephen Crane, The Great Short Works of Stephen Crane; Edith Wharton, The House of Mirth; Frank Norris, McTeague.

353 B (American Literature: Later 19th Century)
MW 1:30-3:20
Literary resopnses to an American propelled forward by accelerating and complex forces. Majors only, Registration Period 1.  Texts: Mark Twain, A Connecticut Yankee in King Arthur's Court; Kate Chopin, The Awakening; Charles Chesnutt, The Conjure Woman and Other Conjure Tales; Henry James, The Bostonians; Joel Chandler Harris, Uncle Remus.

354 A (American Literature: The Early Modern Period)
TTh 9:30-11:20
Many terms are used to characterize American literature of the early modern period: disillusionment, dislocation, alienation, experimentation, redefinition.  In this course we will begin with these descriptors and add our own as we analyze a range of literary works (both fiction and poetry) that emerge in the period between the great wars.  Course requirements include active participation in class discussions, several short response papers, an oral presentation, a mid-term exam, and a research paper. Majors only, Registration Period 1.  Texts: Ernest Hemingway, The Sun Also Rises; Gertrude Stein, Three Lives; Nella Larsen, Quicksand and Passing; Willa Cather, My Antonia; William Faulkner, Light in August.

354 YA (American Literature: The Early Modern Period)
MW 4:30-6:20
Literary responses to the disillusionment after World War I, experiments in form and in new ideas of a new period. Evening Degree students only, Registration Period 1.  Texts: Nathaniel West, Day of the Locust/Miss Lonelyhearts; Nella Larsen, Quicksand/Passing; Wila Cather, O Pioneers!; Richard Wright, Native Son; Ernest Hemingway, The Sun Also Rises; Jean Toomer, Cane; Americo Paredes, George Washignton Gomez; William Faulkner, Absalom, Absalom!

355 A (American Literature: Contemporary America)
TTh 1:30-3:20
In nearly all recent discussions of the literatures of the second half of the twentieth century, we encounter the cultural drive that critics often describe as “Postmodern”—an insistent sense of relativity about cultural truth.  According to Richard Ruland and Malcolm Bradbury, much fiction after World War II “began to celebrate its own loss of signification” and “sought to create independent worlds of textuality and consciousness.”  However, not all postwar/postatomic fiction of the United States is experimental in this “celebrat[ory]” sense.  Instead of privileging a vacancy of meaning, many authors continue to explore and, even, hope for “meaning”—however multiple and timebound.  And it is a contingency of such authors that comprises the focus of this course.  Students should be prepared to read a novel each week and participate thoughtfully and consistently in class discussions.  Majors only, Registration Period 1. Texts: Flannery O’Connor, Wise Blood; H.D., Pilate’s Wife; Cormac McCarthy, All the Pretty Horses; Toni Morrison, Sula;  E. L. Doctorow, Plume; David Leavitt, Arkansas: Three Novellas; Carson McCullers, Reflections in a Golden Eye; William Wharton, Birdy; James Baldwin, Another Country.

358 A (Literature of Black Americans)
TTh 1:30-3:20
Selected writings, novels, short stories, plays, poems by Afro-American writers.  Study of the cultural and historical context within which they evolved.  Differences between Afro-American writers and writers of the European-American tradition.  Meets with AFRAM 358A.  Majors only, Registration Period.

359 A (Contemporary American Indian Literature)
TTh 1:30-3:20
[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.] Meets with AIS 377A.  Majors only, Registration Period 1.

363 A (Literature & the Other Arts & Disciplines)
MW 12:30-2:20
Poetry and Music.  This course offers an intensive examination of conceptual, theoretical, and aesthetic relations between poetry and music.  It will not focus on such relations as songs or words set to music, but will explore instead the nature of the two arts as essentially mediated and explicitly expressive forms of thinking.  No prior training is presupposed, either in literary or musical theory, but all students will write papers that involve working closely with both literary texts and musical compositions, including a final essay on one or more literary works that are intimately concerned with music. This course also has a required practical, performative element, either in a musical ensemble, singing or playing instruments (preferred option) or in a thoroughly rehearsed poetry reading.  The final, that is to say, is a private concert, by the class and for the class.  This will require (as homework) at least one hour a week for group rehearsals and preparation.  This will not be graded, but it is required.  Groups will be organized in the first week of the quarter, and assistance will be provided for selection of materials, rehearsals, and coaching as required.  In addition to the required texts below, there will be a selection of shorter texts, including poems by William Blake, Gerard Manley Hopkins, Wallace Stevens, Paul Celan, Rainier Maria Rilke, Sylvia Plath, and Heather McHugh, available on a course web site.  Meets with C LIT 421.  Texts: F. Nietzsche, The Birth of Tragedy from the Spirit of Music; Aaron Copland, Music and Imagination; Heather McHugh, Broken English; J. S. Bach, Inventions, Little Preludes & Fughetta; Ludwig von Beethoven, Complete String Quartets; Milan Kundera, The Unbearable Lightness of Being; The Book of Laughter and Forgetting.

368 A (Women Writers)
MW 3:30-5:20
Madness in Women’s Writing.  Constructions of madness as a “female malady” (Elaine Showalter) in 19th- and 20th-century women’s writing.  Women’s continuing interest in insanity and mental illness derives from their insight into cultural associations of femininity with irrationality in Western thought.  The course traces the shift of the figure of the madwoman from the margins to the center of women’s narratives: from the 19th-century formation of “the madwoman in the attic,” the duality of the sane Victorian heroine and her “mad double” (Jane Eyre) through modernism (Mrs. Dalloway) to “madwomen protagonists” in confessional and experiential narratives of the 60s and beyond (Plath, Rhys, Morrison) and to new developments towards “visionary madness” and the reinterpretation of madness as “spiritual quest” (not breakdown, but renewal) (Atwood, Head). Texts: Charlotte Brontë, Jane Eyre; Charlotte Perkins Gillman, “The Yellow Wallpaper”; Virginia Woolf, Mrs. Dalloway; Sylvia Plath, The Bell Jar; Jean Rhys, Wide Sargasso Sea; Toni Morrison, The Bluest Eye; Margaret Atwood, Surfacing; Bessie Head, A Question of Power.

368 YA (Women Writers)
TTh 7-8:50 pm
L. Fisher
This course examines women’s writing as participating in and commenting on the process of domestication – women’s training for their work in relation to the home.  We will examine a wide range of texts from the 19th and 20th centuries, looking at the different cultural and historical perspectives women have brought to their confrontation with domesticating forces, producing diverse philosophical and creative responses. Evening Degree students only, Registration Period 1.  Texts:  Mary Wollstonecraft, Maria or, The Wrongs of Woman; Anzia Yezierska, Breadgivers; Toni Morrison, Beloved; Nella Larsen, Quicksand and Passing; Angela Carter, Nights at the Circus; photocopied course reader

370 A (English Language Study) TTh 1:30-3:20
ENGL 370 is an introduction to the study of the English language.  Our focus will be on language as both systematic and social. We will examine the structures of English—from sounds to syntax, from words to texts—in order to accurately describe and analyze the language we all use.  We will also question these structures and their social implications.  This course will require you to think about language in new ways, and to explore the social, political, and personal power that language encodes.  Daily homework and class discussion will prepare you for a midterm and a final examination.  Two writing exercises focusing on the applications of our discussions will also be assigned during the quarter.  Majors only, Registration Period 1. Texts: Cipollone, et al., eds., Language Files: Materials for an Introduction to Language and Linguistics, 7th ed.; photocopied course packet.

371 A (English Syntax)
MW 9:30-11:20
Although syntax can also be studied as a way of exploring the human capacity for language, ENGL 371 will continue to meet the traditional call for a relatively practical but insightful way to parse English sentences, which is to say, to identify their grammatical structures.  We will, however, make use of computer technology, including new tools – robots, really – to do the first rough pass through the sentences, and even in some cases to produce diagrams (trees) of the sentence structure.  That is, we will be drawing on programs that tag the words of sentences with parts of speech, that group the words into phrases, and that display the parsed sentence in branching diagrams.  Our role as users of the programs is to understand what they are doing and to correct them when they are wrong or unable to proceed.  So we will be doing some computational linguistics (but only as intelligent users, not programmers).  Written work will consist of three “lab reports” on the results and discussion of analyzing your passage with various tools and purposes; in addition, there will be a final paper pulling information from these reports into a final discussion of the passage, and a final.  The main part of the final will be to analyze a set sentence or so with ICECUP and another tool and explain exactly what they are saying.  Weights: 15% per Lab Report, 20% each for final paper and final; balance (5% each) for lab exercises. Text: Greenbaum, Oxford Grammar of English.

381 A (Advanced Expository Writing)
MW 12:30-1:50
What I want to explore this quarter is the flexibility of the written language and the ways we can use it to reshape information over and over again. You will start this quarter by researching and writing about a topic that interests you; this material will form the "raw material" for the rest of the quarter, to be reshaped to fit a variety of situations.  There will be no "textbook" for this course; however, I do require that you all have a good writing manual, such as A Writer's Reference or The Everyday Writer.  Additionally, I may require throughout the quarter that you purchase journals or magazines for stylistic analysis. Majors only, Registration Period 1.

381 B (Advanced Expository Writing)
TTh 9:30-10:50
[Concentration on the development of prose style for experienced writers.] Majors only, Registration Period 1.

383 A (Intermediate Verse Writing)
MW 11:30-12:50
A hand-on study of poetic techniques.  During the first half of the course much of our time will be devoted to exercises in meter, figures, and other discrete elements of verse.  The second half will be devoted to a sort of workshop.  Prerequisite: ENGL 283Text: Friebert & Young, The Longman Anthology of Contemporary American Poetry.

383 B (Intermediate Verse Writing)
TTh 1:30-2:50
Intensive study of the ways and means of making a poem.  Further development of fundamental skills.  Emphasis on revision. Prerequisite: ENGL 283. Text: Mark Strand, et al., eds., The Making of a Poem.

384 A (Intermediate Short Story Writing)
MW 10:30-11:50
ENGL 384 is a continuation of the study and practice of writing the short story.  We will examine some examples of the form from the perspective of key elements of fiction—point of view, narrative, action—and practice working with these elements via weekly writing exercises.  Finally, each student will write a complete short story, workshop it in class, and write a second draft for the final portfolio. Prerequisite: ENGL 284. Text: Charters, The Story and Its Writer.

384 B (Intermediate Short Story Writing)
MW 12:30-1:50
ENGL 384 is a continuation of the study and practice of writing the short story.  We will examine some examples of the form from the perspective of key elements of fiction—point of view, narrative, action—and practice working with these elements via weekly writing exercises.  Finally, each student will write a complete short story, workshop it in class, and write a second draft for the final portfolio. Prerequisite: ENGL 284. Text: Charters, The Story and Its Writer.

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