400-Level Courses

Course Descriptions (as of 14 March 2003)

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.)

To Spring 200-level courses
To Spring 300-level courses
To 2002-2003 Senior Seminars

471 A (The Composition Process) 
MW 12:30-2:20
S. Browning

[Consideration of psychological and formal elements basic to writing and related forms of nonverbal expression and the critical principles that apply to evaluation.] Add codes in English Advising office, A-2B PDL.  Text: photocopied course packet.

478 A (Language and Social Policy)

This course examines the paradox that societies dedicating vast resources to language teaching and learning are often unable – or unwilling – to remove linguistic barriers to education, employment, and political power.  In order to explore this paradox, we will study the relationship between language policy and social organization.  Through background reading in applied linguistics and case studies of international language policy debates, we will focus on the links between language and such processes as migration, education, and access to economic resources and political power.  We will also look at the role of language in a revolutionary situation and the issue of language and human rights.  In so doing, we will study language as a site of struggle for social control and change. Texts: Tollefson, ed., Language policies in Education: Critical Issues;  photocopied course packet.

483 A (Advanced Verse Writing)
TTh 11:30-12:50

[Intensive study of ways and means of making a poem.;]  Prerequisite: ENGL 383 and writing sample.  Add codes available in Creative Writing office, B-25 PDL.

484 U (Advanced Short Story Writing)
Wed. 4:30-7:10 pm

[Experience with the theory and practice of writing the short story.] Prerequisite: ENGL 384 and writing sample.  Add codes available in Creative Writing office, B-25 PDL.

485 U (Novel Writing)
Tues. 4:30-7:10 pm

[Experience in planning, writing, and revising a work of long fiction, whether from the outset, in progress, or in already completed draft.] Prerequisite: ENGL 384 and writing sample.  Add codes available in Creative Writing office, B-25 PDL.

491 A (Internship)

Supervised experience in local businesses and other agencies. Open only to upper-division English majors. Credit/no credit only. Prerequisite: 25 credits in English. Add codes, further information in Undergraduate Advising office, A-2-B Padelford (206-543-2634).

492 A (Advanced Expository Writing Conference)

Tutorial arranged by prior mutual agreement between individual student and instructor. Revision of manuscripts is emphasized, but new work may also be undertaken. Instructor codes, further information available in Undergraduate Advising Office, A-2-B Padelford (206-543-2634).

493 A (Advanced Creative Writing Conference)

Tutorial arranged by prior mutual agreement between individual student and instructor.  Revision of manuscripts is emphasized, but new work may also be undertaken. Instructor codes, further information available in Creative Writing office, B-25 Padelford (206-543-9865; open 1-5 daily).

494 A (Honors Seminar)
TTh 10:30-12:20

Everyday Theory, Everyday Practice.  This course is about the practice and theory of the everyday.  While it often seems that daily life – getting up, eating PopTarts for breakfast, getting to work, commuting to school, getting home in time to eat another PopTart in front of Buffy the Vampire Slayer – is precisely what art and theory are not about, our everydays are saturating with both theories and art.  At the same time, both art and theory themselves are often rooted in assumptions about what is day-to-day reality.  In this course I want to spend some times defining what we mean by the “everyday” by looking at a variety of texts – from Nicholson Baker’s Room Temperature, Frank O’Hara’s Lunch Poems, and Toni Morrison’s The Bluest Eye to Leah Cohen’s Glass, Beans, Paper and the film, The Truman Show.  Beyond defining the word, however, we will need to engage contemporary cultural and critical theories that attempt to analyze why the everyday seems a neglected subject of study.  We will be reading theorists – Henri Lefebvre, Michel de Certeau, Susan Willis, etc. – who might challenge your reading skills and patience.  Their difficulty, however, ought to remind us that to understand ourselves we need to step back from our common-sense assumptions about our daily lives and think hard about where those assumptions come from.  More than anything, however, this course is about attending to the everyday, learning the ways we are shaped by and shape common objects, practices, and experiences.  These experiences are not just “ours” alone, but are part of larger cultural patterns, forces, and ideologies.  I hope by the end of the course we will all have engaged these issues and enjoyed the conversations that come from these engagements.   Honors English majors only; add codes in English Advising office, A-2B PDL.   Texts: Ben Highmore, The Everyday Reader; Leah Cohen, Glass, Beans, Paper; Nicholson Baker, The Mezzanine; Toni Morrison, The Bluest Eye; Robert Irwin, The Limits of Vision; Virginia Woolf, Mrs. Dalloway; Don DeLillo, White Noise; Michel de Certeau, The Practice of Everyday Life.


494B (Honors Seminar)
MW 9:30-11:20
C. Fischer

This seminar will examine the sometimes bumptious underbelly of the middle class.  We will do this by reading four disturbing novels – In Cold Blood, Myra Breckinridge, Lolita, and Blood Meridian.  What holds these texts together is their commitment to style, and an inclination towards lurid subject matter.  But there is more to Capote, Vidal, Nabokov, and McCarthy than foppish decadence.  Each of these novels may be read as a portrait of the outsider who challenges or violates social, sexual, and moral norms – and each pays a different price for that transgression.  To open our conversation, and to provide us with a conceptual language, we will read a number of texts in philosophy, literary theory, and social criticism.  In the next eleven weeks, I hope to explore how a writer’s style shapes and influences his content.  How does a high or mandarin style effect a low subject matter?  My hope for the reading list is that these texts will reflect off of each other in provocative ways, and the class is designed to encourage you to come up with your own interpretations of the novels, both individually and taken as a whole.  In addition to the above novels, we will read selections from Norman Mailer’s The White Negro: Superficial Reflections on the Hipster, Judith Butler’s Gender Trouble, Georges Bataille’s Eroticism: Death and Sensuality, and Nietzsche’s On the Genealogy of Morals.  Honors English majors only; add codes in English Advising office, A-2B PDL.

496 A (Major Conference for Honors)

Individual study (reading, papers) by arrangement with the instructor.  Required of and limited to honors seniors in English. Add codes in English Advising, A-2-B Padelford.

497/8 A (Honors Senior Seminar/Senior Seminar)
MW 9:30-11:20

Colonial and Post Colonial Writers and Writing from the Archipelago and the Continent. This course will look at Philippine writing under colonialism (Spain, United States) and after with side trips to the cosmopolitan center with Philippine-American writers.  Texts: Jose Rizal, Noli me tangere; N. V. M. Gonzalez, A Season of Grace; Work on the Mountain; Carlos Bulosan, America is in the Heart; F. Sionil Jose, Dusk; Jessica Haggedorn, Dogeaters; Peter Bacho, Cebu.   497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.

497/8 B (Honors Senior Seminar/Senior Seminar) 
MW 10:30-12:20

I am constantly aware of the subjectivity of this or that of my thoughts and opinions, constantly aware of the relativity--that is, universality--of my preferences.  All around me, all around us--a few hour’s journey to the east, west, north, or south--there are thousands of writers bending over pages full of words and caressing or reviling “the most beautiful, the most proud, the most modest, the most bold, the most touching, the most voluptuous, the most chaste, the most noble. the most intimate, the most mad and most wise” language on earth . . . ( Danilo Kis, “The Gingerbread Heart, or Nationalism.”).

The fact is that each writer has a mythical family tree of ancient and noble lineage, and his coat of arms leaves a proud mark on his manuscript, on his palimpset.  It is like the watermark on the paper he uses, a visible sign of his origins.  And when a writer begins tabula rasa, when his paper lacks a watermark, he has no choice but to cite historical tradition and create his pseudo-family tree on the basis of a historical  heritage, a heritage of local mythology, rather than the literary or (cultural) heritage (Danilo Kis, “Individuality”).

Central European Writing Since 1960.  This course focuses on Central European writing since the 1960’s and on the role its writers played in recalling and reconstructing fractured European identities.  The holocaust, ethnic persecutions and resettlements conducted in the aftermath of World War II and the partitioning of Europe created two distinct Germanies, an augmented and ethnically cleansed Poland, a subject Latvia, Lithuania and Estonia, a Czechoslovakia tilting away from historic ties to Vienna and Berlin towards remote Moscow, an independent, multinational and communist Yugoslavia under Marshal Tito.  The postwar map of Europe also created black holes in European culture and memory.  The contributions of Central European Jewry and the linguistic tapestry formed by Central Europe’s diverse small nations had contributed between the wars to a truly pan-European modernist culture.  After the ravages of the war proper, the region was partitioned between the West and the East with the greater portion of the region subsumed beneath the cultural policing of Soviet internationalism.

In the West preoccupation with reconstruction and later with the “economic miracle” constituted a kind of systematic “forgetting,” a perception of a radical discontinuity between war time totalitarianism and the prosperous and democratic present.  In the East doctrinaire “antifascism” and Communist Party cultural indoctrination placed a great burden on public attempts to revisit and process the traumas which both sanitized and polarized the New Europe.  Nonetheless, the imaginative recall and questioning of the thread that joined past and present was taken up by the writers of the region.  Whether exercising dissident or minority points of view, or simply trying to reconcile the lived experience of  actuality with “official” History, these writers represented the holocaust, the ethnic and pre-industrial cultures “time has forgotten,” as well as the wartime and  Stalin era reigns of terror, while posing questions about the sources of the  “economic miracle” in the West and the “soft totalitarianism” and stagnation of the East.   497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.  Texts: Gunter Grass, Cat and Mouse;  Czeslaw Milosz, Captive Mind; Milan Kundera, The Book of Laughter and Forgetting; Vaclav Havel, The Garden Party and Other Plays;  Danilo Kis, “Encyclopaedia of the Dead,” Peter Handke, The Goalie’s Anxiety at the Penalty Kick,  Tadeusz Konwicki, Moonrise, Moonset; Christa Wolf, Cassandra; Dubravka Ugresic, Museum of Unconditional Surrender.  Selected poetry, essays and criticism.

497/8 C (Honors Senior Seminar/Senior Seminar)
MW 11:30-1:20

Feminism and Science Fiction.  Beginning with Mary Shelley’s Frankenstein and ending with Nalo Hopkinson’s Caribbean cyberpunk novel Midnight Robber, we will explore feminism and science fiction through nearly 200 years of women’s work in the genre.  We will read SF that is both literary and pulpy, philosophical and sexy.  This is a senior seminar, so come prepared to do a lot of reading, and good hard thinking.  Assignments will include weekly response papers/questions, a creative exercise, and a final project in which each course member frames and rigorously explores a significant question of his/her own choosing related to the course theme.  While novels and a few short stories form the required reading for the course, topics for final projects may address feminism through other genres of science fiction (comics, film, music, etc.) and/or SF work by men.  Please read Frankenstein before the first class.   497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.  Texts: Shelley, Frankenstein: The 1818 Text Contexts, 19th-century Responses, Modern Criticism; Charlotte Perkisn Gilman, Herland;  Ursula K. LeGuin, The Left Hand of Darkness; Joanna Russ, The Female Man; Suzy McKee Charnas, The Slave and the Free; Walk to the End of the World; Motherlines; Marge Piercy, Woman on the Edge of Time; Margaret Atwood, The Handmaid’s Tale; Octavia E. Butler, Parable of the Sower; Nalo Hopkinson, Midnight Robber.

497/8 D (Honors Senior Seminar/Senior Seminar)
MW 12:30-2:20

US Global Politics in the Late Twentieth-Century Novel.  In this course, which is a study of both the aesthetic and political transformations evidenced in the novel, we will read a range of novels by US-based authors interested in exploring the sometimes catastrophic, sometimes revolutionary effects of US global politics and culture in the last half of the twentieth century.  In the cold war era that followed the end of World War II, these influential novelists, writing with a pronounced sense of anxiety about the future of US culture and global politics, tried to account for the cultural and political developments of that ear.  Their focus was principally: the sudden and horrific destruction precipitated by the dropping of the atomic bomb; the legacy of the Jewish holocaust in Europe; the strategic importance of the Pacific Rim and Asia; the entrenchment of anti-communist narratives and rhetoric; a wave of postcolonial revolutions and nationalisms; the growth of new global media and cultures; and debates about scientific and reproductive technologies.  Through an engagement with these complex issues and the sometimes violent debates they provoked, our materials offer a sampling of how artists and intellectuals attempted to record and bear witness to wartime traumas and postwar revolutions, as well as how they sometimes reflected and reinforced the effects of new forms of a globalization and cold war nationalisms.  As graduating seniors, student in the course will be expected to participate vigorously and daily in class discussions; they should also expect weekly writing assignments and a final long paper (12-15 pages).  For more information, contact Professor Simpson.  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.  Texts: James Michener, Tales of the South Pacific; Kurt Vonnegut, Cat's Cradle; Jessica Hagedorn, Dogeaters; Jonathan Safran Foer, Everything is Illumintted; Ruth Ozeki, My Year of Meats.

497/8 E (Honors Senior Seminar/Senior Seminar)
MW 1:30-3:20

Passing.  Many scholars, such as Juda C. Bennet, suggest that the passing figure is distinctly American and is crucial to our understandings of race.  In this course, though, we will seek ways to extend the concept of “passing.”  As we might discover, every conscious effort to achieve or appear to achieve a specific and/or recognizable identity is an instance of active “passing” because it changes the way others view and experience us and the ways we view and experience ourselves.  We will consider the concept of “passing” in order to explore the motivation behind a person’s decision either to adopt a specific racial/gendered/ethnic guise or to conceal one.  Because this is your Senior Seminar, a capstone course to your undergraduate career, our primary goal this quarter will be to make the most of all of the opportunities for scholarship at our disposal, which includes the small-class size.  Attaining this goal rests on all of us as a community of scholars, but primarily on you as individuals and the individual commitments you are willing to bring to the course.   497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only. Texts: Diana Fuss, Identification Papers; Janet Lewis, The Wife of Martin Guerre; Natalie Zemon Davis, The Return of Martin Guerre; Charles W. Chesnutt, The House Behind the Cedars; Ruthann Robson, A/K/A; Jeanette Winterson, Written on the Body; Mayra Santos-Febres, Sirena, Selena; D. H. Lawrence, Women in Love; Nella Larsen, Quicksand and Passing; James Baldwin, Giovanni’s Room.

497/8 F (Honors Senior Seminar/Senior Seminar)
TTh 9:30-11:20

Introduction to Australian Literature and Film.  In this seminar we will read and discuss a selection of modern and contemporary Australian novels, short stories, and poetry; we will also view an example of the recent and significant revival in Australian film.  The aim of the seminar will be to acquaint ourselves with major themes in Australian literature and film, and to situate these themes with regard to their historical, aesthetic, and cultural contexts.  These themes will include: indigenous storytelling/writing and first contact; European homesickness; colonial ballads; the ‘yarn,’ tall stories, and hoaxes; writing and the idea of a nation; women’s writing and writing for/about women; history and myth; exile and expatriation; the pastoral and anti-pastoral; iconoclasm, rebellion, and disrespect.  No prior knowledge of the literature or the cultural landscape of Australia is required, although a keen spirit of inquiry would be an advantage.  Relevant contextual material will be provided in a course reader and will be developed in class during the quarter.  Course participants will be welcome to make links between the course material and indigenous and New World experiences in North American (certain links will become clear rather quickly, as will some fundamental differences between Australian and North American contexts).  Most classes will follow a seminar format.  Assessment: Class participation 15%; seminar presentation 15%; short research assignment 20%; mid-term paper (5 pages) 20%; final paper (10 pages) 30%. (Mark Byron is a Visiting Professor from the University of Sydney, Australia.)  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.   Texts: Miles Franklin, My Brilliant Career; Peter Carey, The True History of the Kelly Gang; Richard Flanagan, Gould’s Book of Fish; Les A. Murray, ed., The New Oxford Book of Australian Verse; Jack Davis, Mudrooroo Narogin, and Stephen Muecke, eds., Paperbark: A Collection of Black Australian Writings; photocopied course packet; films: Stephan Elliot, dir., The Adventures of Priscilla, Queen of the Desert (1994); Phil Noyce, dir., Rabbit-Proof Fence (2001).

497/8 G (Honors Senior Seminar/Senior Seminar) 
TTh 10:30-12:20

Politics of Multiculturalism in North America.  The advent of a politics of multiculturalism in Canada and the United States over the past few decades has brought overdue attention to literary works by authors who identify with minority communities of many kinds. Just as these works unsettle any complacent notions about what it means to be North American, they challenge the universality of aesthetic standards.  In many cases, critics have made efforts to develop more appropriate frameworks for the reception (and indeed the production) of works by minority authors.  Occasionally, these critical frameworks have involved guidelines that prescribe a certain content or form to authors based on their ethnic heritage: for example, white authors who treat minority themes have been maligned for cultural appropriation, whereas minority authors who do not foreground oppression have been seen as co-opted.  The (real or perceived) prescriptiveness of multicultural aesthetics has in turn contributed to a backlash against "political correctness."  Whether or not the concept of multiculturalism can support the emergence of more radical or autonomous forms of difference remains to be seen.  Recently, renewed attempts to define aesthetics in a multicultural age have involved a re-engagement with questions of beauty, universality and pluralism.

This course will trace some of these literary and critical developments, exploring both the utility and the limitations of multiculturalism in the conjunction with the study of North American short stories, poems and novels (most of them contemporary).  In our first unit, we will study three multicultural anthologies and consider their role in disseminating the concept6 of "multiculturalism."  Turning to individual novels and their critical contexts for the remainder of the course, we will explore the relationship between narrative aesthetics and multicultural politics.  The discussion-based seminar will rely on active student participation.  497: Honors senior majors only, add codes in English Advising, A-2B PDL; 498: senior majors only.  Texts: Mary Frosch, ed., Coming of Age in America: A Multicultural Anthology; Zora Neale Hurston, Their Eyes Were Watching God; Joy Kogawa, Obasan; Jeannette Armstrong, Whispering in Shadows.

497/8 H (Honors Senior Seminar/Senior Seminar)
TTh 11:30-1:20

British Literary Periodicals.  This course will investigate the 18th-century English essay periodical, a popular genre in its time, but one that is now nearly forgotten except for three major examples: Richard Steele’s and Joseph Addison’s Tatler (1709-1711), and Spectator (1711-1712), and Samuel Johnson’s Rambler.  After having fallen from the canon in the 20th century, these journals are now beginning to receive renewed critical attention: discussing why, and thinking about what the possibilities and limitations of these new critical approaches are, will be an important part of this course.  Hence, this course is as much about methodology and historicism as it is about these early journals. 

We will read selections from both major and minor, even obscure essay periodicals in order to gain a broad overview of the genre, and students will be responsible for both reading and leading class discussion on a number of critical works representative of the new work in the field.  Writing assignments will require primary research and archival work in the Special Collections and Microfilm rooms at Suzzallo library, and we will also discuss the particular challenges and excitement of this kind of research.   

Our primary concerns will be (1) to gain an understanding of the essay periodical’s generic conventions; (2) to consider these journals as both literary texts and historic documents; (3) to begin to understand the distinctions and continuities between “literary” and “historic” analytic methods; (4) to grapple with the genre’s peculiar contingency – that is, to attempt to understand why the English essay periodical was both popular in its day and short-lived, not really surviving into the 19th century; (5) to learn about primary and archival research methods and techniques.  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.   Texts:  Downie & Corns, Telling People What to Think;  Haywood/Spackes, Selections from the Female Spectator;  Johnson/Bate, Selected Essays from the Rambler, Adventurer, and Idler;  Morgan, The Female Tatler;  Steel, Addison/Mackie, Commerce of Everyday Life.

497/8 I (Honors Senior Seminar/Senior Seminar)
TTh 12:30-2:20

Literary Violence and Political Fictions: The Art of Protest in Contemporary America.  In his 1949 essay “Everybody’s Protest Novel,” James Baldwin outlines what has become a central critique of protest fiction in the late twentieth century United States.  As Baldwin complains, “the avowed aim of the American protest novel is to bring greater freedom to the oppressed.  They are forgiven, on the strength of these good intentions, whatever violence they do to language, whatever excessive demands they make of credibility.”  By suggesting that the aims of protest and fiction might be antithetical, Baldwin introduces some of the key questions will we explore in this course: how do we know the difference between literature and politics?  What makes certain kinds of language “literary” and others “political,” and how do these two categories continually overlap and redefine one other?  In this class we will read a range of writing that explores the relationship between literature and politics in the post-1945 United States, asking how this relationship has been shaped by changing geographic and historical contexts.  In particular, we will explore how changing definitions of violence – social, political, disciplinary, economic, symbolic – shape our understanding of protest at the end of the twentieth century.  What might it mean in Baldwin’s terms to “do violence to language”?  Does language itself perform certain kinds of violence, or do people use language for violent ends?  What is the relation between the violence of language, of bodies, of states, of economies?  To begin answering these questions, we will read a series of novels, poems, and films alongside critical writings about sentimentalism, politics and aesthetics, national and transnational social movements, and postmodern literary form, exploring together the specific historical conditions that shape what Baldwin terms the “credibility” of protest in the contemporary era.  Final book list TBA, with possible selections from: James Baldwin, Richard Wright, Ralph Ellison, Leslie Marmon Silko, John Okada, Audre Lorde, Don Dellilo, Adrienne Rich, Ursula LeGuin, Octavia Butler, Maxine Hong Kingston, Ishmael Reed, Harryette Mullen, Cherrie Moraga, Jessica Hagedorn.  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.

497/8 J (Honors Senior Seminar/Senior Seminar) 
TTh 1:30-3:20

Landscapes of the Interior: Adventures in Autobiography.  In this course, we’ll read modern and contemporary fictions of the self – mostly autobiographies and memoirs – to see how their authors write about their own psychic spaces.  How does memory work in rethinking one’s childhood?  Is nostalgia to be cherished or feared?  Do readers want to hear the life-story of someone they’ve never met?  If so, why?  Does writing a memoir create a way out of pain/  Can personal joy be captured on paper?  We’ll also read some essays about autobiography as an idea.  Students will write either 2 shorter of one longer seminar paper, and give a class presentation.  We’ll do some of our own autobiographical writing, but the seminar paper(s) may be an adventure either in autobiography or in critical analysis.   Come prepared with an interest in fictions of the self and look forward to lively exchanges of ideas in the discussions and an interest in the topic.  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.  Texts: Lydia Minatoya, The Strangeness of Beauty; Alice Sebold, Lucky; Jeanette Winterson, Oranges Are Not the Only Fruit; Paul Auster, The Invention of Solitude; Rebecca Walker, Black White and Jewish; Jimmy Baca, A Place to Stand; Barbara Ehrenreich, Nickel and Dimed Virginia Woolf, Moments of Being.

497/8 K
(Honors Senior Seminar/Senior Seminar)
MW 10:30-12:20

Women Writers Across Cultures. In this seminar we will explore dialogues of women writers within and across cultures. Through a reading of sample pairs of writers the class will pay particular attention to the issues of women's authority, identity, and community. Writers will include: Virginia Woolf; Marie de France-Susan Glaspell; Helene Cixous-Clarice Lispector; Charlotte Bronte-Jean Rhys; Zora Neale Hurston-Alice Walker.  A small seminar setting (15 max.) encourages participation of groups members from diverse backgrounds.   Literature and non-literature majors in the Honors Program and those with special interest in the topic are encouraged to register.  Grades based on participation (class discussion, journals) and two papers (one 5-page and one 10-page).  Offered jointly with C LIT 493;  497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.

497/8 TS/U (Honors Senior Seminar/Senior Seminar)
TTh 7-8:50 pm

Gender and Consumption.  This course will examine a variety of literary, social scientific and theoretical texts that examine the social role of women as consumers and shapers of consumer culture.  It will consider how modern femininity has been conceived of as a consumer practice, and how consumption emerges as a constitutively gendered, classed, and raced activity.  In particular it will focus on the so-called “modern girl,” a figure who emerged around the world in the early to mid-twentieth century, who was defined in large part by her consumption of specific commodities and leisure activities, her sartorial style, and her explicit eroticism.  It will consider how this new modern identity impacted upon notions of consumption by rendering it a practice that had as much to do with shopping as with self-creation.  The course will be reading intensive; there will be a balance of theoretical, historical, sociological, and literary texts.  Students will be expected to write about both literature and theory.  (497: Senior English honors students only; add codes in English Advising office, A-2-B PDL; 498: Senior majors only.  Note: ENGL 497/498TS is available only to Evening Degree and non-matriculated students; for information contact UW Educational Outreach, (206) 543-2320. ENGL 497/498 U represents spaces in this class that may be available for regularly-enrolled UW day students during Registration Period 3, the first week of classes; add codes will be required for 497/498U, available from the instructor.)  Texts: Dreiser, Sister Carrie; Tanizaki, Naomi; Larsen, Quicksand & Passing; Dangarembga, Nervous Conditions; Yezierska, Bread Givers; Bramberg, The Body Project; Zelda Fitzgerald, Save Me the Waltz.

499 A

Individual study by arrangement with instructor. Prerequisite: permission of director of undergraduate education. Add codes, further information, available in Undergraduate Advising office, A-2-B Padelford (206-543-2634)

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