(Last updated: December 13, 2005)
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.)
302 A (Critical Practice)
The broad aim of this course is to enhance the way you can study and write about language, literature, and culture: to introduce you to the exploration of these subjects in a disciplined, informed way, with a firm understanding of what is at stake when specific critical practices are selected as your interpretative lens. Toward that larger end, this particular course will focus, in the interest of intellectual intensity, on one particular way in which this can all play out. In other words, rather than sampling a multitude of critical practices in a necessarily hasty way, we will explore, much more intensely, related theories of literary ambiguity and how they result in specific critical procedures for illuminating literary works. To further enable us to work selectively and intensely, the works chosen are all American. But the larger aim is to develop your appetite for and skill in the deliberative, theoretically informed deployment of recognizable critical practices in your study of literary, cultural, and linguistic subject matter. The assumption is that the specific skills and habits cultivated in this course – close reading of complex theory, and elaborate study, critique, and employment of specific critical practices endorsed by such theory – will be transferable to other courses, and to other theoretical and critical contexts. Let me add that theories and practices of literary ambiguity selected for this course are in fact quite fascinating, and enable us to explore, in our practical criticism and scholarship, such issues as how poems operate on multiple levels of understanding, or how novels can exist at the intersection of different cultures and antagonistic points of view.
During the course, you will be asked to keep elaborate journals recording your reading of a wide range of theoretical, critical, and literary readings, and to write essays that specifically explore literary texts according to deliberately adopted critical practices. Secondary readings will include such texts as Susan Stewart’s Nonsense, Geoffrey Harpham’s On the Grotesque, and Mikhail Bakhtin’s Rabelais and His World. Primary literary readings will include writings by Whitman, Melville, Emily Dickinson, Wallace Stevens, Henry James, Ralph Ellison and a host of other American authors. The great majority of these readings will be available in the course pack which you will purchase at the UGL Copy Center. A few larger texts for the course will be available at the University Bookstore. ENGL majors only, Registration Period 1. Texts: Margaret Fuller, Summer on the Lakes; Nathaniel Hawthorne, The Portable Hawthorne; Ralph Waldo Emerson, Selections; Ralph Ellison, Invisible Man; photocopied course packet.
304 A (History of Literary Theory &
This course has two aims: first, to reflect on the project of “literary criticism” as such. What function(s) – cultural, political, social, economic – does (has) literary criticism perform(ed)? What is “literature” and to what extent has it (or can it) exist independently of criticism? In the first section of the course, we will consider the emergence of “literature” in the 19th century from the much broader and varied domain of “letters,” focusing on the relation between literature, nationalism, the increasing division of public from private life, and the ethics of capitalist accumulation. At the same time, we will trace the emergence of literary studies as a specialized arena of criticism. In this regard, we will pay particular attention to the emergence of the New Criticism. Our reading in this section will also limn some of the challenges to the Anglo-American New Criticism posed by continental European (structuralist and post-structuralist) theory.
The first section of the course thus aims to fill in with broad strokes some of the central transformations and turning points in the historical development of “literary criticism.” Our work in the first section should help to situate the three critical practices we will consider in the remainder of the class: marxism, feminism, and post-colonial studies. We will explore some of the assumptions about culture and its reproduction that inform these practices, as well as the particular conceptualization of literary study that follows from these assumptions.
Readings will include Catherine Belsey’s Critical Practice, as well as essays and other critical writing by T.S. Eliot, Cleanth Brooks, Michel Foucault, Michael Warner, Raymond Williams, Herbert Marcuse, Sandra Gilbert and Susan Gubar, Inderpal Grewal, Anne McClintock, Judith Butler, and Edward Said. We will be pursuing our critical inquiries in relation to a small sample of literary texts, including Jane Eyre and short fiction by Sarah Orne Jewett, Arthur Conan Doyle, and Herman Melville. Written assignments for the course will include two short essays (4-5 pages) and a final exam.
305 A (Theories of Imagination)
Theories of Time. This quarter we will study the changing ways thinkers have imagined the nature of time. Because ideas of temporality infuse everything, we will take an interdisciplinary approach to our inquiry and examine several attempts to speak the nature of time from a variety of disciplinary perspectives. Texts: Lao Tzu, Tao Te Ching: The Definitive Edition (ed. Star); Michel Serres with Bruno Latour, Conversations on Science, Culture, and Time; photocopied course packet.
311 A (Modern Jewish Literature in Translation)
This course requires the words “in translation” in order to accommodate the many languages adopted by Jewish writers after 1880 – Yiddish, Hebrew, Russian, German…. But as I look to the content and not simply the language of these stories, I am inclined to replace the word “translation” with “transition,” for new writing in each of these languages would emerge from the alteration, the migration, and the Revolution that would transform traditional Jewish life in the shtetl and the ghetto of Eastern Europe before its obliteration in the early 1940s. This course will reveal the vitality of this multi-lingual Jewish culture before the Second World War. Our readings are entirely comprised of short fiction from the Yiddish of Sholom Aleichem and I.L. Peretz, the Hebrew of Dvora Baron, the Russian of Isaac Babel and the German of Franz Kafka and Joseph Roth. Texts: Dvora Baron, The First Day and Other Stories; Isaac Babel, The Collected Stories of Isaac Babel; Franz Kafka, The Sons; Joseph Roth, Wandering Jews; stories by Sholom Aleichem and I. L. Peretz on Electronic Reserve.
321 A (Chaucer)
This course will stress critical reading and group discussion of Chaucer’s most highly regarded works (Troilus and Criseyde and the Canterbury Tales) as well as a wide selection of his “minor” compositions in both poetry and prose. We will explore the biography of Geoffrey Chaucer, the historical and cultural background of his career, recent critical work on his poetry, and the Middle English language. Mid-term, final, one paper. ENGL majors only, Registration Period 1. Texts: Benson, ed., The Riverside Chaucer; Stone, tr., Love Visions; Coghill, tr., Troilus and Criseyde; Hieatt, tr., Canterbury Tales.
323 A (Shakespeare to 1603)
In this course we will be considering some of the plays Shakespeare wrote during the first half of his career. Already they are masterpieces, mainly comedies and histories. The plays we will be reading include The Comedy of Errors, Richard III, Midsummer Night’s Dream, Henry IV, Part 1, The Merchant of Venice, Twelfth Night, and Hamlet. Maybe Measure for Measure, too, depending on our pace. Work will include 3 short tests, 3 short papers, pasrticipation in a Great Debate, and postings to our discussion site. ENGL majors only, Registration Period 1. Texts: Greenblatt, ed., The Norton Shakespeare; McDonald, The Bedford Companion to Shakespeare, 2nd ed.; optional: Tillyard, The Elizabethan World Picture.
324 A (Shakespeare after 1603)
Shakespeare wrote during the second half of his career. These are his true masterpieces, and they include the four “great” tragedies: Hamlet, Othello, Macbeth¸ and King Lear. We will be reading these, plus two of his Late Romances, The Winter’s Tale and The Tempest. Maybe another one, too, depending on our pace. Work will include 3 short tests, 3 short papers, participation in a Great Debate, and postings to our discussion site. ENGL majors only, Registration Period 1. Texts: Stephen Greenblatt, ed., The Norton Shakespeare; Russ McDonald, The Bedford Companion to Shakespeare, 2nd ed., A.C. Bradley, Shakespearean Tragedy.
324 B (Shakespeare to 1603) Added 11/23; sln: 9188
In his early career (to 1603) Shakespeare was principally a writer of comedies and histories, in his later career (after 1603) mainly of tragedies and romances. We’ll explore his work of the later period with attention to the artistry in his texts-his use of language and poetry, his ideas of dramatic construction, his understanding of genre, his conception of gender, his idea of theater, the impact of education on his choice and treatment of subjects, and on the history of criticism of his work. We’ll read three of the four so-called ‘great tragedies’—Othello, King Lear, and Macbeth--one of the near-great historical tragedies, Antony and Cleopatra, one of the so-called ‘problem comedies,’ Measure for Measure, the most imaginative and well-known of the romances, The Tempest, and a selection of his Sonnets. I have ordered David Bevington, ed. The Complete Works of Shakespeare, 5th edition (Pearson-Longman: New York., 2003). Earlier editions of this work are acceptable substitutes.
325 A (English Literature: the Late Renaissance)
Authors of the mid to late 17th century. We will focus on poetry by writers such as Shakespeare, Sidney, Donne, and Herbert, and the course will culminate in reading Milton's great poem, Paradise Lost. Sub-themes will include: personal identity; women writers and women as subjects; the church; London. Substantial reading load, short essays, one longer essay, final exam, group presentation. ENGL majors only, Registration Period 1. Texts: Abrams, et al., eds., The Norton Anthology of English Literature, Vol. 1; John Milton, Paradise Lost.
327 A (English Literature: Restoration &
Early 18th C.)
The writers and literature of England from 1660 to 1750. We will be reading plays, prose, and poetry, chosen to illustrate the variety as well as the creative force of the written word in this period, bringing to life (for instance) the urban horrors of Defoe’s Journal of the Plague Year, the aristocratic dreamworld of Pope’s Rape of the Lock, the cheerful crooks of The Beggar’s Opera, or the big people and little people of Gulliver’s Travels. Major authors covered include Dryden, Congreve, Defoe, Swift, Pope, Gay, Fielding, and Thomson, with emphasis on careful reading for understanding and enjoyment of this literature in its social and cultural context. Two papers with revision, weekly one-page reading responses, mid-term, final. ENGL majors only, Registration Period 1. Text: Norton Anthology of English Literature, Vol. 1C (Restoration & 18th Century)
328 A (English Literature: Later 18th C.)
In this course, we will read literature of the period formerly known as the “Age of Johnson.” It has also been known as the “Age of Sensibility” and the “Pre-Romantic” era. All of these titles are limited and limiting, and we’ll examine the why and how of all of them by reading poetry and some prose of the period. This was a time when the idea of authorship was in flux, and undergoing changes that led to modern conceptions of creativity and literature. Authors include: Samuel Johnson, James Boswell, Oliver Goldsmith, Ann Yearsley, Hannah More, William Blake, William Wordsworth, and Mary Wollstonecraft. Reading load is fairly heavy. Other requirements include short response papers, one longer essay, and a midterm and/or final exam. ENGL majors only, Registration Period 1. Texts: Abrams, et al., eds., The Norton Anthology of English Literature, Vol 1C; Oliver Goldsmith, The Vicar of Wakefield.
330 A (English Literature: The Romantic Age)
This course focuses on British verbal and visual arts from approximately 1780 – 1830. We will study the prints, paintings, drawings, sculpture, and some monumental or architectural designs of artists such as William Hogarth, William Blake, John Flaxman, J. M. W. Turner, and others. We will also read authors such as Joshua Reynolds, Edmund Burke, Helen Maria Williams, Charlotte Smith, William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Shelley, Mary Shelley, and John Keats. We will spend some time considering how each of the works assigned fit (or don’t fit) into their social and historical contexts. What characterizes different Romantic heroes and heroines? How is a “nation” envisioned and historicized by Romantic artists and writers? In both Romantic aesthetic theories and poetic works, how (and why) is gender associated with perception? What does it mean to think of a work of art as “original?” No previous study of art required. ENGL majors only, Registration Period 1. Texts: Duncan Wu, Romanticism: An Anthology with CD-ROM (2nd ed.); David Blayney Brown, Romanticism (Art and Ideas); Mary Shelley, Frankenstein: The 1818 Text (ed. Butler); William Blake, The Early Illuminated Books (Vol. 3 of The Illuminated Books).
332 A (Romantic Poetry II)
This course takes for its subject the revolutionary nature of early nineteenth-century British poetry, and the influential critical dogmas that arose from it. Romantic poetry and its criticism have been highly influential in shaping modern views of the self, of nature, of inspiration (whether religious, literary, or drug-induced), or art, of morality, and even of the poor. But this is not to say that every Romantic poet or critic viewed these subjects in quite the same way. On the contrary, scholarship is continually making more vivid the rich diversity of viewpoints that contributed to this key transformation in the cultural history of the Anglophone world. We will study important differences between the most enduringly celebrated figures of the period, as well as the perspectives afforded by traditionally marginalized figures, including a number of women poets. We will focus upon the second-generation of British Romantic poets, and on the following figures in particular: Byron, Shelley, Keats, L.E.L., and Felicia Hemans. Expect to read several long poems and some contemporary poetic theory. ENGL majors only, Registration Period 1. Texts: Byron: A Critical Edition of the Major Works; Shelley, Poetry and Prose; Letitia Elizabeth Landon, Selected Writings; John Keats, The Complete Poems; photocopied course packet.
335 A (English Literature: the Age of Victoria)
Victorian Faiths and Doubts. During the Victorian Age, there were a number of significant scientific developments that challenged and threatened to undermine Christian understanding. The most famous of these is, of course, Charles Darwin’s theory of evolution. In this class, we will explore the nature of Victorian faith and doubt, as expressed in the period’s novels and poetry, and in Darwin’s On the Origins of Species. We will consider how Victorian literature was influenced by (and helped influence) scientific developments and Christian theology. Course requirements include a midterm, a final paper, and an in-class presentation. ENGL majors only, Registration Period 1. Texts: Tennyson, In Memoriam, Byatt, Angels and Insects; Hardy, Tess of the D’urbervilles; George Eliot, Daniel Deronda; Darwin, On the Origin of Species.
337 A (The Modern Novel)
While the definition of the novel seems clear, at least as a noun, what precisely does it mean to be modern? “The Modern Novel” seeks to acquaint students with some of the ground-breaking literary texts of the early twentieth century. Our primary geographic focus will be England, but we’ll take a few passes across the Atlantic, beginning in the mid-1920s when we move from Virginia Woolf to Anita Loos’s Gentlemen Prefer Blondes. Hopefully this will prove startling. Failing that, amusing. Failing that, informative. In tandem with learning that the previous two things are sentence fragments, we will read closely, at once focusing on the ambiguities of the texts at hand – the sentient student will emerge from the course with a clear sense of what it means to dissect literary language – and intertextual comparisons. Thematic topics will include: the status of adultery and fidelity; the relation of the artist to the artwork (and the teller to the tale); the role of the modern woman / “The New Woman”; as well as the pros and cons – or limitations and liberations – of individual consciousness and its modes of expression. (Can a consciousness be expressed? Or can it be anything other than expressed?) ENGL majors only, Registration Period 1. Texts: Ford Madox Ford, The Good Soldier; Virginia Woolf, Mrs. Dalloway; D. H. Lawrence, Women in Love; Anita Loos, Gentlemen Prefer Blondes; Evelyn Waugh, A Handful of Dust; James Joyce, Portrait of the Artist as a Young Man; Joseph Conrad, Heart of Darkness.
338 A (Modern Poetry)
This class will study, through the work of two poets, the forms and values of modern poetry. First, we’ll focus on the emergence of a distinctly modern poetic sensibility in Charles Baudelaire’s The Flowers of Evil; in the second half, we’ll explore the evolution of W. B. Yeats’s vision and style, in response to the personal, national, and philosophical crises of his time. The goal is (i) to develop a good sense of how these two modern masters perceived themselves, their art, and the changing world around them, and (ii) to gain insights into the origins, aspirations, and conflicted progress of modern poetry, 1857-1939. Requirements: commit to memory several poems (a minimum to total 100 lines), write three short response / review papers (500-700 words each), and take a final examination/paper. There is no special prerequisite but some background in English romanticism would be very helpful. Please note that in addition to the two books of poems on the reading list there will be a substantial file of materials on reserve. ENGL majors only, Registration Period 1. Texts: Charles Baudelaire, Baudelaire in English; W. B. Yeats, The Collected Works, Vol. 1: The Poems (ed. Finneran).
339 A (English Literature: Contemporary England)
British and Irish fiction from 1970 to 2000. Novelists include Iris Murdoch, Julian Barnes, Jeanette Winterson, Zadie Smith, and others. ENGL majors only, Registration Period 1. Texts: Iris Murdoch, The Unicorn; Caryl Phillips, Crossing the River; Julian Barnes, Flaubert’s Parrot; Jeanette Winterson, Written on the Body; William Trevor, Felicia’s Journey; Roddy Doyle, Paddy Clarke Ha Ha Ha; Kazuo Ishiguro, The Remains of the Day; Zadie Smith, White Teeth.
339 B (English Literature:
TTh 7-8:50 pm (Evening Degree)
Modern British Literature: The Empire at Home. The period after WWII saw a wave of immigrants who came to Britain from formerly colonized countries, particularly from the Caribbean, India, Pakistan, Bangladesh, China, Nigeria, Zimbabwe, and Ghana. Since the early 1950s, many of these immigrants have been forced to deal with issues of race and racism, poverty, sexuality, gender, right-wing policies, anti-immigrant sentiments, homeland cultures and customs, etc. These negotiations are articulated through a strong genre in British fiction as Black British authors seek to explore their cultural dualities and ultimately create their own niche in Britain. Such writings have created a new British experience, as well as innovative theories of understanding culture itself. This reading-intensive course will focus on the above issues through an examination of literature, cultural studies theoretical texts, and films. Students who enroll in this course must be willing to engage with the above listed and other related issues. Texts: George Lamming, The Emigrants; Abdulrazak Gurnah, By the Sea; Meera Syal, Life Isn’t All Ha Ha Hee Hee; Rukshana Ahmad, The Hope Chest; James Procter, ed., Writing Black Britain, 1948-1998. Evening Degree students only.
342 A (Contemporary Novel)
This quarter we will focus on very recently published contemporary novels. Our study will include the first two offerings from the The Myths project, a world-wide effort involving several publishing houses in which dozens of contemporary authors, including Margaret Atwood, Jeanette Winterson, Chinua Achebe, and A. S. Byatt, were asked to re-write any myth from any time in the history of the world. ENGL majors only, Registration Period 1. Texts: Jeanette Winterson, Weight; Margaret Atwood, The Penelopiad; Paul Auster, The Brooklyn Follies; Gabriel Garcia Marquez, Memories of My Melancholy Whores; Ian McEwan, Saturday; Salman Rushdie, Shalimar the Clown.
350 A (Traditions in American Fiction)
American Literary Utopias. The focus of this course is the nineteenth-century American novel, which we will examine at the intersection of its two related utopian premises. First, we will consider the emerging function of the novel as an articulation of national character with respect to the utopian ideals of the United States. Secondly, we will look at the novel as a utopian vehicle for experimentation and critique – its variations, limitations, and possibilities as a form. The collaboration and conflict between these two roles for the novel continue to inform our national literary “traditions” and political “fictions”; thus, questions of canonicity will fundamentally organize our investigation, particularly in terms of gender, race, and popular culture. NOTE: Students will be expected to read most of Cooper, The Last of the Mohicans, before the first class meeting. ENGL majors only, Registration Period 1. Texts: Lydia Maria Child, Hobomok (1824); James Fenimore Cooper, The Last of the Mohicans (1826); Susan Warner, The Wide, Wide World (1850); Nathaniel Hawthorne, The Blithedale Romance (1852); Frances Harper, Iola Leroy (1892); Mark Twain, Pudd’nhead Wilson (1894); and supplemental readings..
352 A (American Literature: The Early Nation)
In this course, we will address a set of literary texts and the category of “American literature” itself. In what ways is literature written or published on U.S. soil “American”? What has counted as “American literature” at different historical moments and across different cultural and institutional contexts? We will begin by considering how issues of nationality are stake in the literary texts themselves. Our reading will focus on selected works of early national and antebellum literature with emphasis on the way this writing intervenes in wider public debates on individual and corporate identities, property, citizenship, and the limits of enfranchisement. But we will also be asking what comprises the specifically literary quality of this writing and how ideologies of nationhood are linked to norms of literary value. Reading will include Susanna Rowson, Charlotte Temple; Charles Brockden Brown, Wieland; Lydia Maria Child, Hobomok; Fredrick Douglass, The Heroic Slave; Harriet Wilson, Our Nig; Frances Green, “The Slave Wife,” Herman Melville, “Bartleby the Scrivener,” some additional short fiction by Fanny Fern and Nathaniel Hawthorne, as well as selected critical essays. Written work for the class will most likely consist of two, take-home essay exams and a collaborative research project. ENGL majors only, Registration Period 1.
353 A (American Literature: Later 19th C.)
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 gassignments, 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. ENGL majors only, Registration Period 1. Texts: Judith Fetterly, ed., American Women Regionalists 1850-1910; William Dean Howells, The Rise of Silas Lapham; Kate Chopin, The Awakening and Selected Short Stories; Frank Norris, McTeague; Stephen Crane, The Great Short Works of Stephen Crane; Henry James, The American; Charles Chesnutt, The Conjure Woman; Mark Twain, The Great Short Works of Mark Twain.
355 A (American Literature:
MW 4:30-6:20 pm (Evening Degree)
This class will study some of the stronger jabs and roundhouses thrown by American writers of the past fifty years. We’ll ask what makes American literature distinctly American (while reserving the right to call that a silly question, or worse). Asked by The Paris Review in 1955 if “the search for identity is primarily an American th Jeme,” Ralph Ellison dropped his right hand, paused, and followed with a mock uppercut to the interviewer’s chin before replying: “It is the American theme.” We’ll talk about such things. Texts: Ralph Ellison, Invisible Man; John Berryman, 77 Dream Songs; Joan Didion, Slouching Towards Bethlehem; Thomas Pynchon, The Crying of Lot 49; Don DeLillo, White Noise; Tony Kushner, Angels in America. Evening Degree students only.
358 A (Literature of Black Americans)
TTh 4:30-6:20 pm (Evening Degree)
[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.] Evening Degree students only; offered jointly with. AFRAM 358.
359 A (Contemporary American Indian Literature)
Winter is the time for telling stories and being reflective. American Indian and Canadian First Nations writers bring to the fore a millennial-long tradition of expressive celebration integrally interwoven to life as we know it in this region. Memory, land, and contemporary indigenous lives inform a literature with old and new relations that defy the boundaries that appear to separate our Pacific Northwest from coastal Canada and Alaska. In this class participants explore in several Northern Native writers’ short fiction, poetry and essay the “inextricable relationship” that illuminates both their lives and works.For additional information, see http://faculty.washington.edu/dianm/ Offered jointly with AIS 377A. ENGL majors only, Registration Period 1.
363 A (Literature and the Other Arts &
Freud and Modern Literature. This course examines 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. 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 is structured around a set of themes that will be developed on the basis of paired readings: in each case we will examine a text or excerpt from Freud’s psychological works in conjunction with the reading of a literary text that exemplifies the issue or issues highlighted in Freud’s theory. Literary works treated include writings by Franz Kafka, Thomas Mann, Arthur Schnitzler, Robert Musil, Ingeborg Bachmann, and others. For further information, see course website. Meets with GERMAN 390A, CHID 496G, C LIT 396A.
368 A (Women Writers)
The Mind, the Heart, the Space Between: Women Writers and Emotional Life. In this course we’ll read contemporary women writers from a variety of backgrounds and with differing emotional investments, and look at how these authors use subtle style and careful craft to write about such emotions as fear, anger, joy, risk, trust. We’ll also explore the intense emotional reactions we have to some things we read, and try to understand exactly what they are, and why we have them. We’ll take up some provocative questions: What does it mean to “identify” with a character, really? How much of our own lives do we read into a character’s life? What does it mean to “escape” into a book? Why would someone want to do that, anyway? What does “being moved” by something we read involve? How do we enter worlds and beliefs very different from our own? Students will choose between writing two shorter or one longer paper, and will give a class presentation with others. Lively discussion, differences of opinion, and openness to other people’s points of view will be crucial in our class meetings. The reading list is not yet final, but probably will include Jeanette Winterson, Toni Morrison, Marilynne Robinson, Tsitsi Dangeremba, and one or two others.
370 A (English Language Study)
This course introduces the systematic study of present-day English sounds, words, sentences, and the contexts of language production. Speakers of a language command many complex levels of structure, many of which they are not even aware. We will look at these structural building blocks of language and become acquainted with the fundamentals of linguistic communication. How do people make meaningful noises? How are words put together? How do words combine to create meaning? How does language function in its social context? This course addresses these questions with particular reference to English. Course work will consist of daily homework, one short paper, a midterm and a final. Text: Tserdanelis & Wong, eds., Language Files: Materials for an Introduction to Language and Linguistics, 9th edition.
371 A (English Syntax)
This course provides the understanding necessary to teach English, and writing, in the schools. It focuses on the basic grammatical forms and structures of English and several approaches to describing and representing them. We will cover: lexical categories (Parts of Speech), syntactic categories (such as phrases, clauses, tense, and aspect), semantic roles, grammatical relations, dependency relations, and constituent structure of the sentence. By the end of the course, students will be able to describe the structure of simple, coordinate, and complex sentences in several ways. In addition, students will be able to analyze the cohesion of sentences in connected text. Several on-line resources will be used. Class will include lectures, discussion of readings, some computer lab work. Written work will consist of two 3-4 page papers, a midterm, and final. Selected exercises from the textbooks will be part of the class preparation and participation grade. Each of these will make up about one-fifth of the final grade. Prerequisite: ENGL 370.or LING 200. Course website: http://courses.washington.edu/englhtml/engl371/. Texts: James R. Hurford, Grammar: A Student’s Guide; Robert D. Van Valin, An Introduction to Syntax.
381 A (Advanced Expository Writing)
Francis Bacon writes, “Reading maketh a full man, conference a ready man, and writing an exact man.” We’ll endeavor in this class to be full, ready, and exact, as we study and discuss exemplary prose stylists, past and present. Much of what we read will provide direction for our own writing (expect memoirs, arts reviews, cultural commentary, and more). Required texts include The Art of the Personal Essay (Phillip Lopate, ed.), The Art of Fact (Keven Kerrane and Ben Yagoda, eds.. The New Yorker magazine (which you can buy off the stand for $3.95 an issue, or obtain through a student-discounted subscription for $.48 an issue), and a course packet (featuring among others, H. L. Mencken, A. J. Liebling, George Orwell, Joan Didion, Lorrie Moore, David Foster Wallace, and Anthony Lane). ENGL majors only, Registration Period 1.
383 A (The Craft of Verse)
Further exploration of the craft of verse by writing poems generated through in-class and at-home writing exercises, imitation and emulation, class discussion, and other poetry-inducing activities. We’ll also read and discuss plenty of contemporary poetry and some essays about writing, too. Prerequisites: ENGL 283 and 284. (Students who have not taken both prerequisites should see an English adviser in A-2B Padelford.) Text: photocopied course packet.
383 B (The Craft of Verse)
In this advanced poetry writing course, students will build on basics studied by learning and producing more difficult forms for practice, investigate the life and work of a writer, and aim at developing a strong sense of voice. Prerequisites: ENGL 283 and 284. (Students who have not taken both prerequisites should see an English adviser in A-2B Padelford.) Texts: Harmon, Holman, & Thrall, eds., eds., Handbook to Literature, 10th ed.; Finch & Varnes, eds., An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art. (Students who have not taken both prerequisites should see an English adviser in A-2B Padelford.)
384 A (The Craft of Fiction)
[Intensive study of various aspects of the craft of fiction or creative nonfiction. Readings in contemporary prose and writing using emulation and imitation. Prerequisites: ENGL 283 and 284.] (Students who have not taken both prerequisites should see an English adviser in A-2B Padelford.) Texts: John Gardner, The Art of Fiction; Northrup Frye, The Educated Imagination; Julie Checkoway, Creating Fiction; D. G. Myers, The Elephants Teach: Creative Writing Since 1880; Nicholas Delbanco, The Sincerest Form: Writing Fiction by Imitation; Paul Mendelbaum, ed., Twelve Short Stories and Their Making.
384 B (The Craft of Prose)
[Intensive study of various aspects of the craft of fiction or creative nonfiction. Readings in contemporary prose and writing using emulation and imitation. Prerequisites: ENGL 283 and 284.] (Students who have not taken both prerequisites should see an English adviser in A-2B Padelford.)