Course Descriptions (last updated November 10, 1998)
The following course descriptions have been written by individual instructors to provide more detailed information on specific sections than that found in the General Catalog. When individual descriptions are not available, the General Catalog descriptions [in brackets] are used. (Although we try to have as accurate and complete information as possible, this schedule remains subject to change.)
304A (History of Literary Criticism & Theory II)
This class is an introduction to recent (post-structuralist) literary theory. We start with a look at some important precursors (Nietzsche, Freud, Saussure) against the background of the traditional assumptions of modern Western philosophy (Descartes). We then take a look at the major poststructuralist theorists of the 1960s and 1970s (including Barthes, Derrida, Lacan, Foucault, Deleuze and Guattari, Irigaray, and Cixous) and end with a consideration of the legacy that these thinkers have left for us today. Books ordered will be supplemented by a course packet of additional readings from Derrida, Lacan, Irigaray, Cixous, and Deleuze & Guattari. Texts: Rene Descartes, Meditations on First Philosophy; F. W. Nietzsche, Twilight of the Idols; Sigmund Freud, Five Lectures on Psycho-Analysis; Ferdinand de Saussure, Course in General Linguistics; Roland Barthes, The Pleasure of the Text; Michel Foucault, The Foucault Reader; Jean Baudrillard, Selected Writings.
310A (The Bible as Literature)
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 Version.
311A (Modern Jewish Literature in Translation)
The Jewish condition--or rather Jewish conditions, for they vary enormously--have generated a wide range of literatures written in all voices--comic, solemn, didactic, realistic, fantastic. All of these voices--even the comic?--may be present in Genesis where we will begin our study of literature from numerous nations and languages. Lecture/discussion; short essays and a final exam. Texts: Howe & Greenberg, Yiddish Stories; S. Y. Agnon, A Book That Was Lost; Anne Frank, Diary of a Young Girl; Giorgio Bassani, Garden of the Finzi Contini; Bruno Schultz, Street of Crocodiles; photocopied course packet of poems.
320A (English Literature: The Middle Ages)
This course is designed as an introduction to some important works in the vast corpus of English Medieval Literature (c. 800-1500). The literature we will study will be chosen both from the earlier part of the period, emphasizing Anglo-Saxon works, and from the later Middle English vernacular tradition including works of romance, saints lives, visionary literature, letters, how-to books. We will attempt to see the works in their literary and historical contexts and discuss the interpretive possibilities inherent in the texts. Owing to the difficulty of some of the older dialects of English (Old English, Early Middle English) and since some of the works are in Old French or Latin, we will -alas!- encounter most of the material in good modern translations, although students will have some opportunity to learn to read the original language. The format will be both lecture and discussion, with students taking active responsibility for interpreting the texts. We will be concerned not only with "literary" issues such as genre, imagery, pattern, audience, poetics, sources and structure, but also with issues of how class, gender, or ideology inform the works. Collateral readings in contexts, literary criticism, and history will enrich the discussions and papers. Requirements: Mid-term, short paper (c. 8 pp., part of take-home final), 4 quizzes, final, at least one short oral presentation which usually consists of reading an assigned passage aloud-for which you have carefully prepared-and discussing its significance. (Majors only, Registration Period 1.) Texts: Boethius, The Consolation of Philosophy; Chickering, ed., Beowulf; Bede, Ecclesiastical History of the English People; Hamer, ed., A Choice of Anglo-Saxon Verse; Borroff, tr., Sir Gawain and the Green Knight; Pearl; St. Benedict, Rule; Smith, ed., Medieval Exegesis in Translation: Commentaries on the Book of Ruth; Davis, ed., The Paston Letters; Marie de France, Lais; Julian of Norwich, Shewings; Millet & Wogan-Brown, eds., Medieval English Prose for Women; Marie de France, Fables; Sir John Mandeville, The Travels of Sir John Mandeville; Dante, La Vita Nuova.
MW 7-8:50 pm
The 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 itself. Mid-term, final, one paper. (Evening Degree students only, Registration Periods 1 & 2.) Texts: Benson, ed., The Riverside Chaucer; Stone, ed., Love Visions; Coghill, tr., Troilus and Criseyde; Hieatt, tr., Canterbury Tales.
323A (Shakespeare to 1603)
Study of Shakespeare's poems and plays to 1603 with emphasis upon meter, rhythm, imagery, reader-response, and student performance. All students are required to perform memorized parts in a performance group which meets all quarter long. Also required: attendance, discussion, secondary readings, papers, and tests. Very demanding course. (Majors only, Registration Period 1.) Texts: Bevington, ed., The Complete Works of Shakespeare, 4th ed.
323B (Shakespeare to 1603)
The goal of this course is to make you a better informed and more active reader of Shakespeare's earlier plays. We'll do this by reading five plays closely, starting with the first of the Henry IV plays (my candidate for the best-certainly the funniest-of his histories) and moving on through two comedies (Much Ado About Nothing, Twelfth Night) and two tragedies (Troilus and Cressida, and Hamlet). Depending on the play, we'll follow Shakespeare's conversations on such themes as power, love, gender, identity, and corruption. Three midterm papers-at least one a take-home-along with regular short response papers. Majors only, Registration Period 1.. Texts: Shakespeare, 1 Henry IV; Much Ado About Nothing; Twelfth Night; Troilus and Cressida; Hamlet; photocopied course packet.
324A (Shakespeare after 1603)
This course functions as an introduction to the Renaissance and to the works of William Shakespeare after 1603. In this class we shall consider a broad spectrum of literary, artistic, political, psychological, and philosophical ideas in some of Shakespeare's major works of this period. We shall also examine the history of ideas, thought, and culture that influenced and informed Shakespeare's thinking. In addition, we shall examine the development of the theater before and during his time. We shall also spend a good deal of class time in close reading of the plays not only for the understanding of sometimes obscure or difficult language but also for the sheer enjoyment of the poetry.(Majors only, Registration Period 1.) Texts: G. Blakemore Evans, ed., The Riverside Shakespeare; optional: Stephen Greenblatt, Shakespearean Negotiations; Robert Weimann, Shakespeare and the Popular Tradition in the Theater; G. Wilson Knight, Wheel of Fire; Eric R. Delderfield, Kings and Queens of England.
325A (English Literature: The Late Renaissance)
van den Berg
[A period of skepticism for some, faith for others, but intellectual upheaval generally. Poems by John Donne and the "metaphysical" school, poems and plays by Ben Jonson and other late rivals to Shakespeare; prose by Sir Francis Bacon and other writers.] (Majors only, Registration Period 1.) Texts: Wilcox, ed., Her Own Life; Lucy Hutchinson (ed. Keeble), Memoirs of the Life of Colonel Hutchinson; Di Cesare, ed., George Herbert and the 17th-Century Religious Poets; Maclean, ed., Ben Jonson and the Cavalier Poets; John Donne, Selected Poems.
328YA (English Literature: Later 18th Century)
MW 7-8:50 pm
We will be reading and discussing late eighteenth-century English writers, among them Samuel Johnson, Mary Wollstonecraft, Tobias Smollett, and William Blake. Readings will include novels, biographies, essays, poems, and a play, and we will be thinking about them in the context of history, ideas, and literary forms-comedy, satire, apologue, irony, etc. Close reading, good preparation, and class discussion are important. There will be in-class essays, a mid-term, an essay, and a final portfolio. Evening Degree students only, Registration Periods 1 & 2. Texts: Samuel Johnson, Samuel Johnson ("Oxford Authors"); Roger Lonsdale, ed., The New Oxford Book of Eighteenth Century Verse; R. B. Sheridan, The School for Scandal; Tobias Smollett, Humphry Clinker; Mary Wollstonecraft, Mary and The Wrongs of Woman (ed. Kelly); A Vindication of the Rights of Woman.
330A (English Literature: The Romantic Age)
This course will examine the literary, intellectual and historical ferment associated with Romanticism (1789-1830) in tandem with travel as both idea and event. Assignments will include in-class presentation, writing assignments, and a final paper. (Majors only, Registration Period 1.)Texts: Rousseau, The Reveries of a Solitary Walker; Wollstonecraft & Godwin, A Short Residence in Sweden & Memoirs; Mary Shelley, Frankenstein (1818 version); Austen, Pride and Prejudice; Coleridge, Rime of the Ancient Mariner; Marriage of Heaven and Hell; photocopied course packet; optional: . Johnson & Grant, eds., Blake's Poetry and Designs;
332A (Romantic Poetry II)
The first two weeks of the course will offer a general introduction to the history (the French Revolution and its impact on the first and second generation of the romantics), philosophy, religion and aesthetics of the period. Subsequently we will engage in a close study of the works of Keats, Shelley, Byron and Mary Shelley, focusing on topics such as nature and the quest for transcendence, artistic experiments in the genre of romance and the epic, the concept of the imagination and the predicament of the poet, the aesthetics of the sublime, the representation of the Promethean myth, and Mary Shelley's and Byron's critique of romantic idealism. Requirements include two papers and a final exam. (Majors only, Registration Period 1.) Texts: John Keats, Selected Poems and Letters; Percy Bysshe Shelley, Poetry and Prose; Mary Shelley, Frankenstein; Richard Holmes, Shelley: The Pursuit.
333A (English Novel)
One of the attributes of the work of art is its tendency to "defamiliarize" things we take for granted. In literature, this defamiliarization effect is often achieved by telling a story through the perspectives of the orphan and the outsider. In this course we will read novels written during the first half of the nineteenth century, the narratives of which are focalized through characters who feel themselves to be in some way alienated from a dominant culture. Assignments will include in-class writing assignments, presentations, and two essays. (Majors only, Registration Period 1.)Texts: Jane Austen, Mansfield Park; James C. Hogg, Private Memoirs and Confessions of the Justified Sinner; Charles Dickens, Oliver Twist; Charlotte Brontë, Jane Eyre; photocopied course packet; optional: Jeremy Hawthorn, Studying the Novel: An Introduction; Franco Moretti, Atlas of the European Novel, 1800-1900; Catherine Gallagher, The Industrial Reformation of English Fiction 1832-1867.
334A (English Novel: Later 19th Century)
This course will examine the way in which the novel-by this time the dominant literary genre-began to shift and change in the later 19th century in response to the cultural and societal movements of the second half of Victoria's long reign. Each of the novels we'll read reflect both the novel's centrality as the genre most attuned to the discourse of the times and what that novelistic discourse tells us about those times-what Trollope called "the way we live now." (Majors only, Registration Period 1.) Texts: Charles Dickens, A Tale of Two Cities; Wilkie Collins, The Woman in White; George Eliot, Adam Bede; Anthony Trollope, The Way We Live Now; George Gissing, The Odd Women; Oscar Wilde, The Picture of Dorian Gray.
335A (English Literature: The Age of Victoria)
Starting with a Sherlock Holmes story, we will read a barrage of things Victorian--poems, a play, a novel, children's literature, social commentary, all in short , one-book-a-week bursts-and each person will attempt to assemble from them a sense of Victorian, Victorian London, Victorian life and art. Writing will be entirely in class, once a week (caveat emptor: on Fridays); discussion will be, I hope, free and lively all other days. Open to non-majors, Registration Period 1. Texts: Browning, My Last Duchess; Wilde, The Importance of Being Earnest; Ruskin, Selected Writings; Meredith, Modern Love; Mill, On the Subjection of Women; Eliot, Scenes from Clerical Life; Grahame, Wind in the Willows; Potter, Tale of Peter Rabbit; Tale of Mr. Tod.
336A (English Literature: The Early Modern Period)
By the beginning of the twentieth century, identifying literature as British or American becomes increasingly problematic. Advances in transportation technology made it easier for writers and artists to leave their native countries, and that resulted in artistic movements that transcend national borders. At the same time, however, some artists began to endorse an essentialist form of nationalism which seemed to contradict the cosmopolitan and transnational movements. This class will examine those tensions in the literature of the early twentieth century. We'll also take an interdisciplinary approach that examines related trends in the music, politics, and visual arts of the time. (Majors only, Registration Period 1.) Texts: Rothenberg & Joris, eds., Poems for the Millennium, Vol. 1; F. T. Marinetti, Let's Murder the Moonshine; William Faulkner, Absalom, Absalom!; Andre Breton, Nadja; photocopied course packet.
338A (Modern Poetry)
Urgency, ambition and extraordinary beauty mark the major poetry of the early part of this century. Whether consoling or shocking, holy or profane, mysterious or blunt, the poets of this period-Yeats, Eliot, Pound, Lawrence, H.D., Crane, Moore, and many others-pushed words to the limit in search of what Hart Crane called "new thresholds, new anatomies." This course will examine the origins of modern poetry, and survey major works of the period. (Majors only, Registration Period 1.) Text: photocopied course packet.
340A (Modern Anglo-Irish Literature)
[Principal writers in English of the modern Irish literary movement-Yeats, Joyce, Synge, Gregory, and O'Casey among them-with attention to traditions of Irish culture and history.] (Majors only, Registration Period 1.)Texts: Yeats, Selected Poems and Four Plays; Joyce, A Portrait of the Artist as a Young Man; Dublienrs; Synge, The Playboy of the Western World; Flann O'Brien, At Swim Two Birds; The Poor Mouth.
342A (Contemporary Novel)
Contemporary novels are variously experimental. In this course, we will read about and discuss those varieties-formally, thematically, and theoretically. We will also read the following contemporary novels to enjoy the experience of reading them, to connect them to contemporary cultural concerns, and to consider reasons for narrative experimentation. Course requirements include: interest in reading novels critically; openness to learning about and using various theoretical approaches to reading contemporary novels; thoughtful and regular class attendance; active participation in class discussion; writing critical essays about your reading. (Majors only, Registration Period 1.) Texts: Kershner, The Twentieth-Century Novel; Winterson, Written on the Body; Kogawa, Obasan; Byatt, Possession; DeLillo, White Noise.
350A (Traditions in American Fiction)
In this course we'll explore relationships, consensual and/or coercive, between cultural identity, narrative identities, and textual authority as performed in a variety of stories and novels beginning with Edgar Allan Poe's Dupin stories; Melville's "Benito Cereno"; Twain's Pudd'nhead Wilson; Frances Harper's Iola Leroy; Charles Chesnutt's The House Behind the Cedars; James Weldon Johnson's The Autobiography of an Ex-Colored Man; and ending with Nella Larsen's Passing and "Sanctuary." Since our readings focus on various permutations and rigidities of identity and authority, one of our central concerns will be the issue of plagiarism: who has the authority to decide, or authenticate, what counts as borrowed, lifted, or stolen identity? Requirements: participation, a portfolio consisting of two papers (5 pages each), several shorter response papers, and a reading journal. (Majors only, Registration Period 1.) Texts: Johnson, The Autobiography of an Ex-Colored Man; Chesnutt, The House Behind the Cedars; Harper, Iola Leroy; Larsen, An Intimation of Things Distant; Melville, Bartleby & Benito Cereno; Twain, Pudd'nhead Wilson; photocopied course packet.
350YA (Traditions in American Fiction)
TTh 4:30-6:20 pm
In this class, we will examine the intersecting themes and figures of race and justice in nineteenth-century American fiction. Evening Degree students only, Registration Period 1. Texts: Mark Twain, Huckleberry Finn; Harriet Beecher Stowe, Uncle Tom's Cabin; Herman Melville, Bartleby & Benito Cereno; Lydia Maria Child, Hobomok; Charles Chesnutt, The Marrow of Tradition; James Fenimore Cooper, The Last of the Mohicans.
352A (American Literature: The Early Nation)
[Conflicting visions of the national destiny and the individual identity in the early years of America's nationhood.] (Majors only, Registration Period 1.) Texts: Margaret Fuller, The Essential Margaret Fuller; Frederick Douglass, The Narrative of the Life of Frederick Douglass, An American Slave; Henry Thoreau, The Portable Thoreau; Nathaniel Hawthorne, The Portable Hawthorne; Ralph Waldo Emerson, Selections from Ralph Waldo Emerson; Herman Melville, Moby-Dick.
353A (American Literature: The Later 19th Century)
Realism, Race, and Gender. In this course we will be reading and discussing a few representative texts from post Civil War America in order to get a sense of the period's main issues. The readings will be organized by pairing male- and female-authored works, and we will be spending a fair amount of class time discussing the constructions of male and female identities evolving throughout the 19th century. Among the issues we'll be considering are the economics of class identity, gender and imperialism, race and realism. Requirements will include class participation, weekly response card, group presentations, and 2-3 essays. (Majors only, Registration Period 1.) Texts: Henry James, The American; Edith Wharton, House of Mirth; Charlotte Perkins Gilman, Herland; Charles Chesnutt, The Marrow of Tradition; Frances E. Harper, Iola Leroy; Richard Harding Davis, Soldiers of Fortune.
354A (American Literature: The Early Modern Period)
This course focuses on American fiction of the 1920s and 1930s and covers a range of genres and perspectives, such as the Harlem Renaissance, Southern writers, literary Realism and Modernism, proletarian, crime, and historical fiction. Grade will be based on participation, reading quizzes, a midterm exam, and a final paper. Please note: This is a reading-intensive course, so don't take it if you won't be able to keep up. (Majors only, Registration Period 1.) Texts: Edith Wharton, The Age of Innocence (1921); Jean Toomer, Cane (1923); Ernest Hemingway, The Sun Also Rises (1926); Jessie Fauset, Plum Bun (1929); Grace Lumpkin, To Make My Bread (1932); William Faulkner, Light in August (1932); F. Scott Fitzgerald, Tender is the Night (1934); James M. Caine, Double Indemnity (1936); Arna Bontemps, Black Thunder (1936).
355U (American Literature: Contemporary America)
MW 7-8:50 pm
The reading list for this course combines some lesser-known texts with some co-called classics from the period of American ltierature immediately following World War II. All deal in some way with the after-effects of the war on American culture and thought. Grade will be based on participation, reading quizzes, a midterm exam, and a final paper. Please note: this is a reading-intensive course, so don't take it if you won't be able to keep up. Students should read the first half of The Street before the first meeting. (Majors only, Registration Period 1.) Texts: Ann Petry, The Street (1946); Carlos Bulosan, America is in the Heart (1946); Chester Himes, The Lonely Crusade 1948); J. D. Salinger, The Catcher in the Rye (1951); Tillie Olsen, Tell Me a Riddle (1956); James Baldwin, Giovanni's Room (1956); Nelson Algren, A Walk on the Wild Side (1956); Norman Mailer, The Naked and the Dead (1959); Pat Frank, Alas, Babylon (1959); Paule Marshall, Brown Girl, Brownstones (1959).
358A (Literature of Black Americans)
African American Autobiography. This survey course will focus on autobiographies, chiefly experiences with slavery and/or travel, written by African Americans in the 19th and 20th centuries. Meets with AFRAM 358A. (Majors only, Registration Period 1.) Texts: F. J. Griffith & Cheryl Fish, eds., Strangers in the Village; John Edgar Wideman, Brothers and Keepers; Washington, Up from Slavery; Nelson, Volunteer Slavery; recommended: W. L. Andrews, ed., African American Autobiography.
363A (Literature and the Other Arts and Disciplines)
Literature and Music. This course will examine in some detail the relation between poetry (in an extended sense) and music, with particular attention to how both artistic media can be understood as strategic uses of intelligence. The work of the course will consist of readings of literary works and the study of musical works, supplemented by in-class performances (still being arranged). The course will begin with a collection of lyric poems, from late medieval/early modern English, including song and sonnet cycles as well as individual poems. The connection to music will not, either here or later in the course, be made on the basis of words set to music, though there will be some such cases. The focus will be, rather, on learning how to read intricately figured and densely metaphorical works, where there are homological but not always thematic or analogical similarities. Poems will include works by Chaucer, Skelton, Greville, Sidney, Spenser, Shakespeare, Donne, Herbert, Milton, Blake, Shelley, and Wallace Stevens. Musical compositions will include work by Monteverdi, Palestrina, Gabrielli, Corelli, Buxtehude, Bach, Handel, Brahms, Faure, Samuel Barber, Aaron Copland and Roy Harris. The last half of the course will focus on two novels by Milan Kundera (The Book of Laughter and Forgetting and The Unbearable Lightness of Being), and selected chamber works by Beethoven. The ability to read music is not required, though a willingness to look at scores is. There will be, in addition to the regular texts below, a course reader consisting of selected poems for discussion in class, together with reproductions of a number of pieces of music. Meets with C LIT 421A. Texts: Milan Kundera, The Book of Laughter and Forgetting; The Unbearable Lightness of Being; Beethoven, String Quartets, op. 131 and 135, Miniature Scores; photocopied course packet.
368A (Women Writers)
African American Women. In this course we will consider specific intersections of gender, race and in some instances, sexuality. We will discuss the ways in which black women represent their subjectivities in novels, autobiography and film during the last half of the twentieth century. The class will proceed with active discussion so class participation is mandatory. In addition, students will be expected to complete short writing assignments as well as mid-term and final essays. Texts include: Ann Petry, The Street; Gwendolyn Brooks, Maud Martha; Gayle Jones, Eva's Man; Alice Walker, The Color Purple, and Audre Lorde, Zami: A New Spelling of My Name. Film screenings include: Tamara Dobson in Cleopatra Jones and Cheryl Dunye's Watermelon Woman.
370A (English Language Study)
Introduction to the study of written and spoken English, deepened and broadened by the requirement of concurrent enrollment in ENGL 373, History of the English Language. Concurrent enrollment in ENGL 373A required.Text: Clark, Escholz & Rose, Language: Readings (6th ed.).
370YA (English Language Study)
TTh 7-8:50 pm
This course introduces the systematic study of language and aims to help students step back and think about language in new ways. The course covers the many levels of structure working in language-from sounds to words to sentences to discourse-as well as how speakers learn and change language over time. Discussions will also focus on social issues tied up in language, including attitudes to dialects, gender and language, "standard English," and national language policies. Evening Degree students only, Registration Periods 1 & 2. Text: Cipollone, et al., Language Files, 7th ed.
373A (History of the English Language)
Evolution of the sounds, forms, vocabulary, structures, and speech communities of English for the length of its written records-some 1200 years. Concurrent enrollment in ENGL 370A required.Text: A. C. Baugh & T. Cable, A History of the English Language.
381A (Advanced Expository Writing)
Concentration on the development of prose style for experienced writers. Majors only, Registration Period 1. Text: Lynne Z. Bloom, The Essay Connection: Readings for Writers.
381B (Advanced Expository Writing)
Focus on Autobiography. In this course, we'll ask questions about autobiography: we'll see how writers use voice and argument to tell and to transform the stories of their lives, and our perceptions of them. From great autobiographies, and selections from many more, we'll provide a jumping-off point for a variety of writing projects: an analytical essay, a short research paper, and, at the end of the quarter, an autobiography of your own. Be prepared to do a substantial amount of writing and peer-editing. Majors only, Registration Period 1. Texts: Harriet Jacobs, Incidents in the Life of a Slave Girl; Frederick Douglass, My Bondage and My Freedom; Helen Keller, The Story of My Life; Maxine Hong Kingston, The Woman Warrior; photocopied course packet.
383A (Intermediate Verse Writing)
Intensive study of the ways and means of making a poem. Further development of fundamental skills. Emphasis on revision. Prerequisite: ENGL 283. No texts.
383B (Intermediate Verse Writing)
[Intensive study of the ways and means of making a poem. Further development of fundamental skills. Emphasis on revision.] Prerequisite: ENGL 283. Text: Heaney & Hughes, Rattle Bag.
Reading, rereading, writing, and rewriting short fiction. Prerequisite: ENGL 284. Text: photocopied course packet.
384U (Intermediate Short Story Writing)
Tues. 4:30-7:10 p.m.
This course will aim to foster the discipline necessary to write regularly, to elaborate on the elementary skills of fiction writing and on the techniques necessary to design a completed story. It presumes, therefore, previous experience in fiction writing. We will practice as well, through the reading of exemplary stories and fellow students' work, the critical reading skills necessary for any aspiring writer. If you can't read carefully, you can't write carefully; if you can't help solve another author's fictional problems, you're unlikely to be capable of solving your own. Fiction writing is a serious way of knowing the world, an no time will be squandered on analyzing the commercial marketplace, or on how one might reduplicate fiction whose only function is the passing of time or the making of money. Prerequisite: ENGL 284. Text: photocopied course packet.