Winter 1998

300-level Courses

Notes of Interest

Course Descriptions
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.)

History of Literary Criticism & Theory I
TTh 10:30-12:20
A class to introduce you to the major theoretical positions taken towards literature in the western tradition, beginning with Plato and ending with Nietzsche. And because literary theory exists (ostensibly) to explain and deepen the reading of literature, we will also be reading a (few) literary texts as well-short lyric poems, along with Hamlet. Texts: Hazard Adams, ed., Critical Theory Since Plato, rev. ed.; Shakespeare, Hamlet
History of Literary Criticism & Theory II
MW 1:30-3:20
M. Griffith
English 304 is an Introduction to Literary Theory, a subject thought by some to be impossibly esoteric and completely without interest for "true" students of literature. In this version of the course we will try to understand why these ideas are short-sighted, and in the process come to know some of the characteristic issues and methods of recent Theory. There will be a great deal of writing in the course because one can't "learn" Theory by watching others do it. Feel free to contact me for more information.Texts: Stanley Fish, Doing What Comes Naturally; Frank Lentricchia & Thomas McLaughlin, Critical Terms for Literary Study, 2nd ed.; Anita Desai, Clear Light of Day; Jane Kramer, Whose Art Is It? 
Theories of the Imagination
TTh 1:30-3:20
This course will examine the concept of the imagination as manifest in three contexts: philosophy, poetry, and music. In addition to papers, the course will require an individual project and participation in a group, studying a body of imaginative work. (Meets w. C LIT 396.) Texts: Immanuel Kant, Critique of Judgment; William Blake, Collected Poetry and Prose; William Carlos Williams, Imaginations; photocopied course packet; musical selections available in OUGL (Meets with C LIT 396)
Cultural Studies: Literature & the Age
MW 9:30-11:20
Textual Transactions: Merchants, Pirates, and Adventurers in Renaissance England. This course will explore the role of these often ambiguous figures in the culture of the period. We will read widely, from canonical works such as Shakespeare's Merchant of Venice, to pamphlets denouncing piracy, to pageants that celebrate the merchants of London. As we read, we will consider how the representations of these characters reflect England's increasing sense of itself as a merchant nation. How are commercial and aristocratic values reconciled (or not) in these texts? What do the texts tell us about England's relations with other states and other peoples? And, finally, how can we evaluate the cultural effects of the texts we analyze? (Will meet Pd. 2 requirement for the English major.) Texts: Hakluyt, Voyages and Discoveries; Shakespeare, The Merchant of Venice; Jonson, Volpone, Marlowe, The Jew of Malta; photocopied course packet
The Bible as Literature
Daily 10:30
J. Griffith
A rapid study of readings taken from both the Old and New Testaments, focusing mainly on those parts of the Bible with the most "literary" interest--narratives, poems and philosophy. Students will be expected to attend class regularly and take part in open discussion of those assignments. Written work will consist entirely of a series of between five and ten in-class essays, done in response to study questions handed out in advance. Text: Metzger & Murphy, eds., The New Oxford Annotated Bible with the Apocrypha, Revised Standard Versions. 
Modern Jewish Literature in Translation
Daily 12:30
This course deals with the literary interpretation of modern Jewish experience, which includes the break-up of a cohesive religious culture, mass migrations of unprecedented magnitude, the destruction of European Jewry by National Socialism during World War II, and the effort to reestablish a national existence in the Jewish homeland of Israel. Readings include such classic Yiddish authors as Sholom Aleichem and I. L. Peretz, and more recent Yiddish writers, among them I. B. Singer and Jacob Glatstein. At least two writers who did not write in Jewish languages, the Czech Franz Kafka and the Italian Primo Levi, will also be studied. Among the Israeli authors in the syllabus are Agnon, Hazaz, and Appelfeld. Considerable attention will also be given to the play of competing ideas that form the background of the imaginative literature. Texts: Howe and Greenberg, Treasure of Yiddish Stories; Appelfeld, Badenheim 1939; Levi, Survival in Auschwitz; Hellor, ed., The Basic Kafka.
Literature of Developing Nations
MW 9:30-11:20
Fifty Years of Indian Anglophone Writing. This course will be about literature written in English by writers originating from the Indian subcontinent. We will begin with some readings about the status of writing in English both before and after the subcontinent achieved independence from the British in 1947. Having considered some material on the teaching of British literature in India, as well as the status of commonwealth and postcolonial literature, we will read novels and some poetry (and a novel about poetry) from post-independence anglophone writers over the last fifty years. Texts include fiction and poetry by Salman Rushdiek, Arundhati Roy, Rohinton Mistry, Agha Shahid Ali, Anita Desai, V. S. Naipaul, Amitav Ghosh, and Sara Suleri. Texts: Mistry, Such a Long Journey; Naipaul, Mimic Men; Roy, The God of Small Things; Ghosh, The Circle of Reason; Desai, In Custody; Suleri, Meatless Days.
Literature of Developing Nations
TTh 3:30-5:20
(sln: 7990)
History as Enemy: The Painful Search for Zimbabwean Identity. Africa experienced a renaissance in the 1960s that opened the continent's arts, culture, history and emergent literature to the world. Beginning with Ghana in 1957, by 1967 most British colonies in Africa, with the exception of Rhodesia (now Zimbabwe) and South Africa, had become independent. A new African emerged with the new Africa-assured, confident and eager to define a new world and identity as informed by both past and present. The first African novel in English, Chinua Achebe's Things Fall Apart (1959), set the tone for the new written literatures emerging from Africa. Achebe declared that his aim was to "teach" his people that they had a past, a history and "did not hear about culture for the first time from Europeans acting on God's behalf," as they had a viable culture and philosophy of their own. African identity was thus explored, analyzed, defined. During the years that followed, African writers from all over the continent engaged in great debates on the state of writing on the continent, raising fundamental issues such as what should an African writer write about? Who should the African writer write for? In what language? In what form? etc. 

While Africa was going through this most exciting re-definition of itself, Rhodesia (which became known as Zimbabwe at independence in 1980) was conspicuous by its absence. In 1965 the minority settler white government unilaterally declared its independence from Britain, African nationalists took up arms and began a 15-year-long guerilla war, Britain succeeded in getting the United Nations to impose comprehensive economic sanctions against the rebel colony, and Rhodesia was isolated by the world and, like a closed wound, began to fester from within. White settler writers continued to write as if their setting was Arcadian England of the English Romantics. Early African writers of the 1960s wrote autobiographies thinly disguised as "histories" or "fiction" and as the despair in the land deepened, writers of the 1970s wrote works which carried that despair and disillusionment. Later, Zimbabwean writers were to be referred to as "the lost race," and Zimbabwean literature has always been out of step with the general movement of ideas on the African continent. The search for Zimbabwean identity as seen through its literature reflects a tortured period of mind in the 1960s and 1970s, a brief moment of brightness in the early 1980s, and a relapse into disillusionment almost immediately thereafter. 

Zimbabwean writers do not share a common voice. Rather, they represent individual voices of "teachers, preachers, non-believers," and others who are not easy to categorize. This course will explore these various voices against the informing ideas that swept across Africa at the time of their writing and that immediately impacted on their world in Rhodesia, in Zimbabwe, and account for the strife in the efforts at definition, identity-formation and divided loyalties (including a strong sense of loyalty to the self).

Professor Ranga Zinyemba is visiting this winter from the University of Zimbabwe. (Class added after Time Schedule printed; meets with CHID 498E; sln:7990.) 

TTh 8:30-10:20
Introduction to Chaucer's Canterbury Tales and other poetry in Middle English, with attention to Chaucer's historical and social context. (Majors only, Registration Period 1.) Text: Chaucer, Canterbury Tales (ed. Kolve & Olson). 
Shakespeare to 1603
TTh 9:30-11:20
The point of this course is not only to study the early comedies, tragedies and histories of Shakespeare, but to figure out their conjunction; that is, how drama in one category relates to the others. (Majors only, Registration Period 1.) Texts: Shakespeare, Richard II; 1 Henry IV; Twelfth Night; Midsummer Night's Dream; Julius Caesar; Hamlet. 
Shakespeare after 1603
MW 10:30-12:20
Study of Measure for Measure, King Lear, Macabeth, The Tempest, and perhaps other works, through reading of primary and secondary texts and through lecture, discussion, essays, texts, and performance in class by all class members in acting groups. (Majors only, Registration Period 1.) Text: Bevington, ed., The Complete Works of Shakespeare.
Shakespeare after 1603
Daily 12:30
Three plays (one tragedy, one political piece, one strange and wonderful romance) by a Shakespeare who has become not only a seasoned and versatile playwright but also adept at making the resources of poetic language serve a dramatic function. Therefore, a lot of close reading, and as much "performance" as we can manage. Students may choose between writing papers or taking (midterm and final) examinations. (Majors only, Registration Period 1.) Texts: Shakespeare, Macbeth; Coriolanus; The Winter's Tale. 
English Literature: The Late Renaissance
MW 1:30-3:20
Literary Worlds of the Early Seventeenth Century. This course explores the transformation of English literature in the period from the Elizabethan models, closely based on courtly forms, to the representation of multiple spaces in the culture. How do theatrical forms such as the Jacobean masque contrast to the "city comedy" of an emerging bourgeoisie? In the poetry of the period, how are earlier Petrarchan models transformed to incorporate new scientific and religious motifs? Some of the larger questions we will be discussing include: How does the role of an author develop and change in the period, given the first stirrings of commercial authorship? What are the connections between gender and nation, given how these literary texts define the England of their time? Finally, what can the increasing recourse to images of trade and expansionism tell us about the "literary worlds" we are exploring? (Majors only, Registration Period 1.) Texts: Shakespeare, A Winter's Tale; Jonson, The Alchemist; Complete Poems; Middleton/Dekker, The Roaring Girl; Donne, Selected Poetry; Herbert, English Poems; Bacon, Essays.
TTh 1:30-3:20
van den Berg
English literature, wrote T.S. Eliot, could only afford one Milton. We'll consider why that might be so. We'll read and discuss his impassioned poetry and prose, seeing how he shaped the politics and literature of his time. He thought in terms of oppositions: good and evil, destruction and creation, time and eternity, soul and body, freedom and service. He valued introspection, intimate friendship, and sweeping vision. A profoundly religious man, his beliefs were uniquely his own. He believed in free will and a free society, writing in defense of regicide, divorce and writing itself. We'll read his prose and his poetry, especially Paradise Lost, and discuss the paradoxes in the work, the man, his era and the criticism he has evoked. Course requirements: two midterms, final exam or term paper. Texts: Milton, Complete Poems; Selected prose. (Majors only, Registration Period 1.)
English Literature: Later 18th Century
Daily 8:30
The late eighteenth century too often suffers in contrast to the first part of the century: whereas the literature of the early years sparkles with witty repartee, general observation suggests that the literature of the later half drips with moral sentiment. A closer examination of the second part of the century reveals, however, the presence of resistance to such sentimentalized representations, and, indeed, a tendency to mock, if not satirize, most of the contemporary literary conventions. In this class, we will be looking at a variety of genres, themes, and authors to gain an idea of what was important to the writers of that period and their sense of the role of fiction. Although the idea of fiction as instructing and entertaining simultaneously is not new to the eighteenth century, it is certainly central to understanding the tensions present in the literature of the period. In order to explore these tensions, we will take seriously the ideas of moral writing as a form of entertainment and of wit as an important didactic tool. There will be a large amount of reading in this class, and, in order to respond to as much of it as possible, you will be asked to do a number of shorter assignments (weekly reading journals, study questions, occasional reading quizzes, and short research projects) in additino to a short mid-term paper and a final exam. (Majors only, Registration Period 1.) Texts: Pothe, ed., Boswell's London Journal, 1762-1763; Smollett, Humphrey Clinker; S. Johnson, History of Rasselas; Burney, A Busy Day; Goldsmith, She Stoops to Conquer; Vicar of Wakefield; Wollstonecraft, Mary and the Wrongs of Woman; Walpole, The Castle of Otranto; Austen, Northanger Abbey; Love and Friendship; Sheridan, The Rivals; Sterne, A Sentimental Journey; photocopied course packet. 
Rise of the English Novel
MW 7-8:50 p.m.
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.(Evening Degree students only, Registration Periods 1 & 2.) Texts: Daniel Defoe, Moll Flanders; Samuel Richardson, Clarissa; Henry Fielding, Joseph Andrews; Laurence Sterne, Tristram Shandy; Matthew G. Lewis, The Monk; Jane Austen, Northanger Abbey.
Romantic Poetry I
TTh 10:30-12:20
We will be reading the poetry (and some prose) of the first generation of English Romantic poets-Blake, Wordsworth, Coleridge, and others-with attention to visual contexts (especially to Blake's designs), politics (the French Revolution), and other matters. But our main focus will be on reading poems. There will be a lot of discussion in class, student presentations, short papers and a longer one, and exams. (Majors only, Registration Period 1.) Texts: Blake, Blake's "America: A Prophecy" and "Europe: A Prophecy"; Blake's Poetry and Designs; Coleridge, The Portable Coleridge; Wordsworth, William Wordsworth: Selected Poems. 
Romantic Poetry II
TTh 2:30-4:20
We will be reading the second generation of romantic writers-Byron, Keats, and the Shelleys-with a focus on changing concepts of the self and of the nature of poetry. While our main focus will be on reading poems, we will also be paying attention to the cultural and historical contexts. Assignments will include short response papers, a longer paper, and an exam. (Majors only, Registration Period 1.) Texts: Keats, Complete Poems; Byron, Works; P. B. Shelley, Poetry and Prose; Mary Shelley, Frankenstein.
English Novel: Early & Middle 19th Century
MW 9:30-11:20
The development of the English novel in its "golden age." Attention to themes, forms, and styles. The fiction of the era is known for its realism, while authors also pushed the boundaries of the real in fiction. The amount of detail on everyday life makes these works wonderful windows into the past. Emphasis on placing the novels in their times, with background on the authors to enhance historical understanding; also selected critical reading. Major novels: Jane Austen's Pride and Prejudice and Persuasion. Charlotte Brontë's Jane Eyre; Charles Dickens's Great Expectations; along with shorter works: Lewis Carroll's Alice in Wonderland; and prose selections by John Stuart Mill. Video showings of recent productions of Austen and Brontë novels. Some lecture, more discussion. Class participation expected. Take-home essay midterm, c. 6-8 pp. paper, in-class mainly essay final. (Majors only, Registration Period 1.) Texts: Austen, Pride and Prejudice; Persuasion; C. Brontë, Jane Eyre; Dickens, Great Expectations; Pool, What Jane Austen Ate and Charles Dickens Knew; Carroll, Alice in Wonderland; Mill, A Selection of His Works.
English Novel: Early & Middle 19th Century
MW 12:30-2:20
The development of the English novel in its "golden age." Attention to themes, forms, and styles. The fiction of the era is known for its realism, while authors also pushed the boundaries of the real in fiction. The amount of detail on everyday life makes these works wonderful windows into the past. Emphasis on placing the novels in their times, with background on the authors to enhance historical understanding; also selected critical reading. Major novels: Jane Austen's Pride and Prejudice and Persuasion. Charlotte Brontë's Jane Eyre; Charles Dickens's Great Expectations; along with shorter works: Lewis Carroll's Alice in Wonderland; and prose selections by John Stuart Mill. Video showings of recent productions of Austen and Brontë novels. Some lecture, more discussion. Class participation expected. Take-home essay midterm, c. 6-8 pp. paper, in-class mainly essay final. (Majors only, Registration Period 1.) Texts: Austen, Pride and Prejudice; Persuasion; C. Brontë, Jane Eyre; Dickens, Great Expectations; Pool, What Jane Austen Ate and Charles Dickens Knew; Carroll, Alice in Wonderland; Mill, A Selection of His Works.
English Novel: Later 19th Century
Daily 10:30
This course tries to suggest the richness and variety of the English novel by studying the relations between content and form in six novels, ranging from The Warden to The Secret Agent. Although considerable attention will be paid to the social, historical, and philosophical backgrounds against which the novels appeared, no attempt will be made to reduce the novels to "reflections" of a ruling class or learned elite, or to an assemblage of dirty tricks played by white Europeans against the rest of the human race. On the contrary, it will be assumed that, as Kenneth Burke once wrote, the law of the imagination is "when in Rome, do as the Greeks." (Majors only, Registration Period 1.) Texts: Trollope, The Warden; Dickens, Great Expectations; Eliot, Middlemarch; Hardy, Jude the Obscure; Conrad, The Secret Agent; Wilde, Picture of Dorian Gray. 
English Literature: The Age of Victoria
MW 7-8:50 p.m.
Although the major texts will be focused on the Victorian writing which characterized and also critiqued the age, we will give some attention to parallels in painting and photography, for the age's visualization of itself was never solely in its printed words. Also the reading will include a fictional retrospect: Butler's The Way of All Flesh. (Evening Degree students only, Registration Periods 1 & 2.) Texts: Abrams, et al., Norton Anthology of English Literature, Vol. 2; Samuel Butler, The Way of All Flesh
English Literature: The Early Modern Period
TTh 12:30-2:20
This quarter we will read novels, short stories, and poetry by English and Irish writers during the modernist period. Our reading will include works by Forster, Mansfield, Lawrence, Joyce, Woolf, Yeats, and Rhys. The class format is lecture and discussion. Additionally, each student will participate in an oral group project. (Majors only, Registration Period 1.) Texts: E. M. Forster, Howard's End; Katherine Mansfield, Stories; D. H. Lawrence, Complete Stories, Vol. 2; James Joyce, Portrait of the Artist; Virginia Woolf, Mrs. Dalloway; W. B. Yeats, Selected Poems; Jean Rhys, Voyage in the Dark.
The Modern Novel
MW 10:30-12:20
"On or about December, 1910," writes Virginia Woolf, with only a trace of irony, "human character changed." So also did the literature that sought to express humanity's transformed character. This class will feature an intensive exploration of eight major works of narrative prose written on either side of the Atlantic between Woolf's epochal date and the late 1930s. Our investigation will proceed in four units, focusing in turn on fictional autobiography, multiple perspectives, erotic love, and the racial Other. As appropriate, we will incorporate music, visual art, and cinema into our discussions. At all times we will be sensitive to the innovations in form and content that distinguish this period's fiction, especially as thes innovations foreground language, sexuality, and the interrelations of gender, race, and class. Expect weekly journal writing, two essays, and much conversation. (Majors only, Registration Period 1.) Texts: Stein, The Autobiography of Alice B. Toklas; Joyce, A Portrait of the Artist as a Young Man; Faulkner, Absalom, Absalom!; Woolf, The Waves; Lawrence, Lady Chatterley's Lover; Hurston, Their Eyes Were Watching God; Larsen, Quicksand & Passing; Forster, A Passage to India; photocopied course packet
Modern Poetry
MW 7-8:50 p.m.
An examination of "modernisms"--from the canonical to the less so. We will begin by investigating what Modernists themselves contructed as the shift from Victorian sensibilities to "modern" ones and explore the ideologies which inform this construction. We will end by looking at some of the heirs of modernism. Throughout we will look at the claims modern writers made for their works, for their era, and for poetry itself. Expect a substantial amount of reading and intensive class discussions. Weekly response papers, poetry exercises, quarter-long critical edition project. (Evening Degree students only, Registration Periods 1 & 2.) Texts: Ellman & O'Clair, eds., The Norton Anthology of Modern Poetry, 2nd ed.; Mary Oliver, A Poetry Handbook; recommended: Lewis Turco, The New Book of Forms: A Handbook of Poetics 
English Literature: Contemporary England
MW 11:30-1:20
The New Face of Late 20th-Century British Writing. Since the gradual break-up of the British Empire, British literature has taken on a decidedly different face. Writers of color from other countries, as well as Anglos from the ex-colonies, dominate its contemporary literary scene. Some of these writesr arrived on British shores for political, educational or economic reasons,; some are second generation "Britons" born of "resident alien" parents; whil yet others are Anglos forever changed by their experiences in the colonies. Mosly educated within the British system either in England or "at home," they reinvigorated British writing by becoming "more Anglo than the Anglos" or else by investing their English writing with colonial color and verve. In this course, we shall examine the political, aesthetic and socio-economic features that they share in common. I have selected only five required texts so that we can spend as much time as possible in discussion. (Majors only, Registration Period 1.) Texts: V. S. Naipaul, The Mimic Men; Kazuo Ishiguro, The Remains of the Day; Doris Lessing, The Fifth Child; Caryl Phillips, The Nature of Blood; Hanif Kureishi, The Buddha of Suburbia.
Contemporary Novel
MW 7-8:50 p.m.
This course will examine a variety of recent and contemporary American texts: novels (including a lot of science fiction), essays, visual art, and films. The larger aim of the class will be to develop a sense of what it means for our culture to be called "postmodern." Two papers, and one in-class presentation. (Evening Degree students only, Registration Periods 1 & 2.) Texts: Paul Auster, City of Glass; Kathy Acker, Empire of the Senseless; William Burroughs, The Western Lands; Xam Cartier, Muse-Echo Blues; Andy Warhol, The Philosophy of Andy Warhol; Steve Erickson, Arc d'X; Philip K. Dick, The Three Stigmata of Palmer Eldritch, Samuel R. Delany, Trouble on Triton; Octavia Butler, Bloodchild and Other Stories.
Contemporary Poetry
TTh 12:30-2:20
This course offers a survey of contemporary American poetry in avant garde traditions from the 1970s to the present. Familiarity with the poetry of the Beats, Black Mountain, and the New York School is recommended but not required. Topics for discussion will include the relation of poetry to magic and the occult; to painting, movies and music, to ritual forms, nonsense, and "the unspeakable visions of the individual." Authors to be discussed include Susan Howe, Nathaniel Mackey, Alice Notley, Michael Palmer, Gustaf Sobin, and John Yau. Texts: Schwartz, Primary Trouble; Foster, Postmodern Poetry; Allen & Butterick, The Postmoderns. (Majors only, Registration Period 1.)
20th-Century Dramatic Literature
TTh 10:30-12:20
Modern and contemporary plays by such writers as Shaw, Synge, O'Casey, O'Neill, Yeats, Eliot, Beckett, Pinter, and Albee. (Majors only, Registration Period 1.) Texts: Worth, ed., The Harcourt Brace Anthology of Drama, 2nd ed.; Ariel Dorfman, Death and the Maiden; Howard Backen, Hotel Nightfall and Words to the Free
Traditions in American Fiction
MW 1:30-3:20
A sampling of significant American fiction, with attention to extreme and dramatic differences in literary voice, and featuring as comprehensive a look as possible at the ranges of theme and technique that have engaged American authors over the years. Students should come prepared to read texts closely and to deliberate on the reciprocity between fiction and the socio-political context it both derives from and helps to form.(Majors only, Registration Period 1.) Texts: Nathaniel Hawthorne, The Portable Hawthorne; Rebecca Harding Davis, Life in the Iron Mills and Other Stories; Mark Twain, Adventures of Huckleberry Finn; Stephen Crane, The Portable Stephen Crane; Kate Chopin, The Awakening and Selected Stories; F. Scott Fitzgerald, The Great Gatsby; Ralph Ellison, Invisible Man. 
American Literature: The Early Modern Period
Daily 8:30
J. Griffith
We'll read and discuss an assortment of novels and short stories by American authors writing in the first half of the twentieth century. Students will be expected to attend class regularly, keep up with reading assignments, and take part in open discussion. Written work will consist of a number of brief in-class essays, done in response to study questions handed out in advance. (Majors only, Registration Period 1.) Texts: William Faulkner, Go Down, Moses; Zora Neale Hurston, Their Eyes Were Watching God; Ernest Hemingway, For Whom the Bell Tolls; Richard Wright, Uncle Tom's Children; John Steinbeck, The Long Valley; Sherwood Anderson, Winesburg, Ohio; Eudora Welty, Thirteen Stories by Eudora Welty; Sinclair Lewis, Babbit.
American Literature: Contemporary America
TTh 10:30-12:20
This course will examine the work of six American poets writing after World War II who are explicitly concerned with the reciprocity of poetry and place. We will begin by reading two major poets writing in the decades following World War II: Elizabeth Bishop and William Carlos Williams. We will then turn our attention to four contemporary poets: Robert Hass, Adrienne Rich, Denise Levertov and Gary Snyder. One premise of the course is that each book of poems exemplifies a speculative concern with the physical, personal, historical and spiritual dimensions of place. But rather than the place of sentimental attachments, the place of literal topographies, the poems we will read share a deeper (and less predictable) commitment to the place of poetry. Texts: Elizabeth Bishop, Collected Poems; William Carlos Williams, Paterson; Robert Hass, Field Guide; Adrienne Rich, An Atlas of the Difficult World; Denise Levertov, Evening Train; Gary Snyder, Mountains and Rivers Without End.(Majors only, Registration Period 1.) --Added Nov. 4, 1997; sln: 8079--
Classic American Poetry
MW 12:30-2:20
In this course, we will study Whitman, Dickinson, Stevens and Williams in relation to each other and to their respective cultural and political contexts. (Majors only, Registration Period 1.) Texts: Wallace Stevens, The Collected Poems; William Carlos Williams, Selected Poems; Walt Whitman, Leaves of Grass; Emily Dickinson, Final Harvest.
Literature and Medicine
TTh 10:30-12:20
van den Berg
--Cancelled, Nov. 4, 1997--
Women Writers
MW 2:30-4:20
Asian American Women's Immigrant Narratives. This course examines the range of immigrant narratives produced by today's current women writers, with a particular focus on younger writers. Emphasis is on what these narratives have to say about the effects of gender and class on Asian immigrants' experiences in America. We will also ask how immigrant narratives by Asian American women comment on various historical crises or problems in American culture. Students should be prepared to participate in class discussions, some group work and occasional in-class writing. Two in-class exams and a final paper required. Texts: Patti Kim, A Cab Called Reliable: A Novel; Sky Lee, Disappearing Moon Café; Lan Cao, Monkey Bridge; Bharati Mukherjee, Jasmine; Gish Jen, Typical American. 
English Language Study
MW 10:30-12:20
This survey course provides a broad introduction to the study of the English language. We will cover a wide variety of topics including the structure and function of language, language acquisition, discourse analysis, and social issues surrounding language. By the end of the quarter you should have a basic awareness of the major issues of concern to linguists in society today and a healthy respect for the complex and dynamic nature of language. Texts: Clark, Eschholz, & Rosa, eds., Language: Introductory Readings; Ohio State Univ., The Language Files (6th ed.). 
English Language Study
TTh 3:30-5:20
This course is an introduction to the scientific study of language. Drawing most of the examples from English, it surveys the major concepts of phonetics/phonology, syntax, semantics, pragmatics, and sociolinguistics as they have been developed during the twentieth century. Written work will include exercises from the text, quizzes, a mid-term and a final. Texts: Pinker, The Language Instinct; Ohio State Univ., Language Files
English Syntax
MW 1:30-3:20
This course covers the basics of standard English grammar. We will take a descriptive approach to understanding the main structures of sentence-level grammar with an eye for how present-day rules, standards, and attitudes have developed. Assuming that many class members are likely to be teaching English in the future, we will also focus on grammar in writing, analyzing samples of native speaker and second language speaker writing and developing activities for those whose goal it is to learn Standard American English. The course assumes no previous study of grammar. Prerequisite: ENGL 370 or equivalent. Text: Barry, English Grammar: Language as Human Behavior
Advanced Expository Writing
MW 10:30-11:50
Discourses of Technology. In this course, we will focus on the multiplicity of writing (on-line, fictional and non-fictional) surrounding technology. In particular, we will examine technologies effect on community, on notions of utopia, and on entertainment. Coursework will be 3 papers which go through several drafts along with smaller writing assignments and research projects. Active class participation is expected. Ability with computers is not a prerequisite, but willingness to use email frequently and to learn some HTML within the course is important. Texts: Couglas Coupland, Microserfs; Bill Gates, The Road Ahead; Neal Stephenson, Snow Crash; Wired magazine, January 1998 issue; photocopied course packet. Majors only, Registration Period 1.
Advanced Expository Writing
TTh 9:30-10:50
This section of advanced expository writing will focus on moments of cultural contact and controversy throughout American history, using first-hand accounts and documents relating to the Puritan-Indian encounter, slavery as an issue in the Declaration of Independence, and the development of the labor movement (for example). Students will examine issues of rhetoric and argument in relation to these documents and accounts. In addition to writing several papers, students will be required to develop and annotate a selection of cultural archives regarding an issue of regional, personal, and/or cultural significance. Texts: Herzberg & Bizzell, eds., Negotiating Difference: Cultural Case Studies for Composition. 
Intermediate Verse Writing
MW 10:30-11:50
This class will be run as a creative writing workshop. Significant time will be spent on reading poems-and observing their rhetorical elements and design. The requirements of the course involve writing and critiquing poems as well as development of an individualized reading project. Prerequisite: ENGL 283 or equivalent. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Text: Rothenberg & Jovis, Poems for the Millennium. 
Intermediate Verse Writing
TTh 3:30-4:50
This class will be a workshop structured around group reading and critiquing of your poems. We will do some work on gaining control in terms of voice, image, rhythm and cadence. Some in-class writing, recitation of a poem, attendance of a live reading and a final portfolio are required. Prerequisite: ENGL 283 or equivalent. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Text: Buckley & Merrill, What Will Suffice: Contemporary American Poets on the Art of Poetry 
Intermediate Short Story Writing
MW 11:30-12:50
This class continues and extends the ongoing process of writing and close reading of short stories, designed as a bridge between introductory and advanced classes. Prerequisite: ENGL 284 or equivalent. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Text: Charters, ed., The Story and Its Writer 
Intermediate Short Story Writing
Wednesday 4:30-7:10 p.m.
Ongoing practice in the writing and close reading of short stories, designed as a bridge between the rudimentaries of fiction writing you learned in 284 and the more complex issues raised in 484. The course format is a writing workshop and focuses on the process of writing and revision of the short story form. Emphasis will be on the development of continuity with the elements of fiction: character, tone, points of view, dialogue, setting, plot, conflict, scene and narration. Class participation will include (1) lecture and discussion of contemporary writers and their craft; (2) in-class writing exercises; (3) written critiques of participants' creative works, and (4) publication concerns, including presentations of literary journals and magazines and lectures on publication procedures. Prerequisite: 284 or equivalent; further informatioadd codes in Creative Writing office, B-25 PDL (open 11-3 daily). Text: Ann Charters, ed., The Story and Its Writer. 

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