Course Descriptions (as of February 24, 1998)
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.)
407 A (Special Topics in Cultural Studies)
American Blacks and Jews: Cultural and Historical Relations. This team-taught course will read historical documents, literary texts (by Baldwin, Mailer, Malamud, Baraka), see films (The Jazz Singer; The Pawnbroker) and listen to guest lecturers discuss representations of the complex interaction between American blacks and Jews. Meets with HIST 498C. Texts: Malamud, The Tenants; Salzman, ed., Bridges and Boundaries.
422 YA (Arthurian Legends)
MW 7-8:50 pm
We will be tracing the development of medieval Arthurian literature from its earliest recorded beginnings through the 15C. This means that we will be trying to piece together the history of the Anglo-Saxon invasion of Celtic Britain (5C), the legends growing from it, Celtic (mostly Welsh) styles of story telling, the so-called courtly love, and the ethnic/historical/religious contexts of the later Middle Ages that made the Arthur story both so popular and political (12-15C). There will be considerable reading, some on the NET, some in easy Middle English dialects. There will be weekly e-mail "blurbs" to write, two papers, and depending on the size of the class, group presentations. The texts you will be expected to buy are the Lais of Marie de France, Chretien's Erec and Enide, Yvaine and Lancelot, The Alliterative Morte D'Arthur, Malory's Morte d'Arthur, and if it comes back in print, Louis B. Hall's collection of The Knightly Tales of Sir Gawain. It will be assumed that you have read Sir Gawain and the Green Knight.. (Evening Degree students only, Registration Periods 1 & 2.)
440 A (Special Studies in Literature)
Canadian Literature. We'll read and discuss an assortment of long and short stories written by Canadian authors in the nineteenth and twentieth centuries. 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. Texts: Mordecai Richler, The Apprenticeship of Duddy Kravitz; Margaret Atwood, ed., New Oxford Book of Canadian Short Stories; Robertson Davies, Fifth Business; Michael Ondaatje, The English Patient; Stephen Leacock, Sunshine Sketches of a Little Town; John Stephens, ed., Best Canadian Short Stories; Alistair MacLeod, The Lost Salt Gift of Blood; Alice Munro, Lives of Girls and Women; Margaret Atwood, Lady Oracle; Jack Hodgins, The Macken Charm.
443 A (Poetry: Special Studies)
Inside Poetry: Functions of Sounds and Sensory Images in Poems and in Readers. This course pursues such questions as: How do rhythms work in poems and in persons? Do rhythm, song, and poetic devices such as alliteration and rhyme merely enhance meaning? Do they add dimensions of experience (physical emotion, sublimity, paradoxical wonder and freedom from conventions of language) not well captured in terms of discursive "meaning"? How do we actually experience non-visual poetic "images" treating inside feelings of heart-heavy sadness, stomach-wrenching fear, or physical arousal or trance? How do listeners physically respond to musical elements in poetry? In addition to inner responses of laughter and crying, what other inner responses do readers and listeners experience (subvocalization? muscular tension and release? kinesthetic empathies?):? Can readers be trained to intensify bodily and emotive responses to poems? (yes.) What may be characteristic differences in our behavior and feelings when reading, listening, saying, chanting, or physically enacting the "same" poem? How may we decide which responsive behaviors may be best suited to particular poems? This course explores the hypothesis that a revitalization of literary study, after years of arguable enervation through overly abstract and theoretical study, may come partly through attention to the sensory and tonal life of literature. Students will read poems and secondary readings, discuss issues, write several short papers, memorize and perform briefly, and take a final exam. Text: X.J. Kennedy & Dana Gioia, eds., Introduction to Poetry, 9th ed.
452 A (Topics in American Literature)
Contemporary Asian American Literature. We will read works representing the variety of contemporary Asian Pacific American authors. They reflect and refract the experience of being Asian American (and all the ambiguity with which that term is laden) as it is given structure and meaning through prose narrative. Our reading will be done against the backdrop of the situation-political, economic and social, of Asians in predominantly English-speaking North America and a Hawai'I where English was, and is, the language of power. Probable class requirements: All required texts will be covered in class. In addition, students will be expected to read at least one of the recommended texts and utilize it in the final paper. Two formal papers, one a short autobiographical sketch, and the other a 10-15 page critical paper, will be required, as well as a running journal to be handed in weekly. Class attendance and participation in discussion is expected. There will be no exams or quizzes. (Meets with AAS 402A) Texts: Peter Bacho, Dark Blue Suit and Other Stories; G. S. Chandra, Sari of the Gods; Frank Chin, The Chickencoop Chinaman and The Year of the Dragon: Two Plays; Jessica Hagedorn, Dogeaters; Maxine H. Kingston, Woman Warrior; Bharati Mukherjee, Wife; Gary Pak, The Watcher of Waipuna and Other Stories; Shawn Wong, Homebase; recommended: Heinz Insu Fenkl, Memories of my Ghost Brother; Peter Bacho, Cibu; Frank Chin, Gunga Din Highway; Chock & Lum, eds., The Best of Bamboo Ridge; Kamala Markandaya, Nectar in a Sieve; Ty Pak, Guilt Payment; Roshni Rustomji-Kerns, ed., Living in America: Poetry and Fiction by South Asian American Writers.
471 A (The Composition Process)
In this course, we will be talking about a number of the theoretical and pedagogical issues that have emerged over the past 25 years in the field of composition studies. Along the way, we will test the theories and enact the pedagogies through activities in the classroom so that you can be witness both to what researchers and teachers think goes on during composing processes and what students themselves experience when they are asked to engage in them. The main goal of this course is to get you to understand and to remember that practice without theory, like theory without practice, is not likely to lead to the successful teaching of writing in the kindergarten through college classroom. Add codes in English Advising office, A-2-B PDL. Texts: Wiley, Gleason & Phelps, eds., Composition in Four Keys: Inquiring into the Field; Joseph Harris, A Teaching Subject.
[Consideration of psychological and formal elements basic to writing and related forms of nonverbal expression and the critical principles that apply to evaluation.] Text: Wiley, et al., Composition in Four Keys. Add codes in English Advising office, A-2-B PDL.
473 A (Current Developments in English Studies: Conference)
Pedagogical Phonology. This class applies principles of phonology and phonetics to the teaching of pronunciation to speakers of English as a second language. Students in this class will learn how to analyze the sounds, intonation, stress, and rhythm of North American English and to develop activities, tests, and course curricula for ESL learners. We will also discuss the social and psychological ramifications of accent in a world of Englishes. Class requirements include quizzes, homeworks, speech analysis projects, a teaching demo, and a proposal for a pronunciation course. Text: Celce-Murcia, Brinton & Goodwin, Teaching Pronunciation.
474 A (Special Topics in English for Teachers)
You: a student writer interested in student writing. This is the training course required for a (paid) position as tutor in the English Department Writing Center during the 98-99 academic year. Collaborative learning is the order of the quarter, both learning from each other about reading and writing processes, and learning how to collaborate with the less experienced writers who visit the Center. While looking at student papers, we will ask questions like the following: What constitutes academic writing? What about it can be taught, and what can be tutored? What is the difference? How does the rhetoric change with writers at various skill levels? With second-language speakers? Creative writers? How do writing centers fit into the paradigms of composition theory? The course will include some writing projects, some observation of tutors in action, and, by the end, some tutoring in preparation for fall quarter. To ask questions and/or to get an add code, see Carmi Parker in the Writing Center, B-12 Padelford, 10:30-4:30 Monday-Friday. Text: Meyer & Smith, The Practical Tutor.
483 A (Advanced Verse Writing)
Explore poetic techniques that strengthen voice, such as metaphor, rhythm, and various patterns of repetition. Class will stress class reading as well as writing poetry. Text: Friebert & Young, Longman Anthology of Contemporary American Poetry. Prerequisite: ENGL 383 and writing sample to be screened by instructor. Add codes in Creative Writing office, B-25 Padelford, open 11-3 daily.
484 A (Advanced Short Story Writing)
Advanced reading, discussing, writing, and rewriting short stories. Prerequisite: ENGL 384 and writing sample to be screened by instructor. Add codes in Creative Writing office, B-25 Padelford, open 11-3 daily. Text: Proulx, Best American Stories 1997.
484 U (Advanced Short Story Writing)
Mon 4:30-7:10 pm
This is the last in the undergraduate sequence of short story workshops; entry will only be allowed for student writers who demonstrate real familiarity with the fundamentals of short fiction, and who have both specific ambitions as a story writer, and the capacity to work independently. Exemplary readings, written student critiques, and formal introductions to fictional work will also be required, as well as a conscientious willingness to help other students with their manuscripts. Fiction writing is a serious way of knowing the world, and no time will be squandered on analyzing the strictly commercial marketplace, or on how one might reduplicate fiction whose only function is the passing of time or the making of money. No texts. Prerequisite: ENGL 384 and writing sample to be screened by instructor. Add codes in Creative Writing office, B-25 Padelford, open 11-3 daily.
485 A (Novel Writing)
This class will concentrate on the writing and reading of your novels. However, we will also be reading one published novel and several essays novelists have written on their craft. This is not a class for beginning fiction writers, and you should expect to write and read extensively over the quarter. I'll expect that you're familiar with the basics of fiction writing and that you will start the quarter with a very solid idea and plan for your novel-one of your first assignments will be to do an outline of your whole project. As part of writing a novel is simply generating pages, I'll expect you to complete at least 30-40 pages over the quarter, and several sketches, outlines, diagrams, etc., as well as reading and commenting on each other's work. We will discuss issues of character development and imagery, and pay special attention to issues of pacing and organization in the novel. This is not a course in writing commercial or genre fiction. Because a quarter is so short, it is important to attend the first day of class. Prerequisites: ENGL 384 or 484 and writing sample to be screened by instructor. Add codes in Creative Writing office, B-25 Padelford, open 11-3 daily. Texts: Marilynne Robinson, Housekeeping; David Lodge, The Art of Fiction.
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. Further information and add codes in English Undergraduate Advising office, A-2B PDL.
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. Prerequisite: permission of program director. Instructor codes in Undergraduate Programs office, A-11 PDL.
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. Prerequisite: permission of program director. Instructor codes in Creative Writing office, B-25 PDL, open 11-3 daily.
494 A (Honors Seminar)
In this class we are going to look at the role of images in contemporary life and culture. The class will have a double focus. One focus is on questions involving the role of images in our culture. The other focus is on questions of how to write about these images and this culture. The first series of questions includes topics such as: the odd nature of the photographic and cinematic image; the vexed relationships between images in text, in the age of movies, TV, and the Internet; the ways in which images (media representations, simulacra, etc.) have come to dominate all aspects of our social life; the ways in which our physical landscapes and architectures have turned into imagescapes and mediascapes, with special reference to Las Vegas and Southern California. In the second series of questions, we will look at a wide variety of writings on these subjects, including both academic and non-academic (journalistic, literary, experimental) approaches. I want to develop as broad a sense as possible of the different modes of critical inquiry and critical writing that are available to us when we consider these subjects. The books ordered will be supplemented by a wide variety of articles and online sources. Class requirements include three short papers, and participation in discussion. (Departmental Honors students only.) Add codes in A-11 Padelford. Texts: Roland Barthes, Camera Lucida; Susan Sontag, On Photography; George Trow, Within the Context of No Context; Marshall McLuhan, The Medium is the Massage; Hunter Thompson, Fear and Loathing in Las Vegas; Jean Baudrillard, America; James Baldwin, The Devil Finds Work.
495 A (Major Conference for Honors in Creative Writing)
Special projects available to honors students in creative writing. Required of and limited to honors majors in creative writing. Add codes in Undergraduate Programs office, A-11 PDL. No texts.
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 Undergraduate Programs office, A-11 PDL.
497/498 A (Honors Senior Seminar/Senior Seminar)
Studies in Literature for Adolescents and Young Adults. While much fiction addressed to general readers has from time immemorial treated the topic of adolescence, only in the past few decades has a genre of writings addressed to teen-aged readers ("Young Adult Literature') come into its own. With the publication of such novels as S. E. Hinton's The Outsiders, Paul Zindel's The Pigman, and Robert Cormier's The Chocolate War in the late 1960s and early 1970s, Young Adult Literature came of age as a serious forum for adolescent study of its own anxieties, desires, conflicts, and joys. Since then, a succession of gifted writers (such as Francesca Lia Block, Sue Ellen Bridgers, Bruce Brooks, Paula Fox, Rosa Guy, Virginia Hamilton, M. E. Kerr, Robert Lipsyte, Norma Fox Mazer, Walter Dean Myers, Richer Peck, William Sleator, Cynthia Voigt, and many others) has brilliantly explored the lives of contemporary youths. Works by such writers are taught in many North American college and university English departments. They have been largely neglected in our own English department. This seminar will help remedy the neglect. We probably will study the following works together with selected secondary readings: Horatio Alger, Ragged Dick; Sarah Orne Jewett, Betty Leciester; Rudyard Kipling, Captains Courageous; Zane Grey, Riders of the Purple Sage; Maureen Daly, Seventeenth Summer; S. E. Hinton, The Outsiders; Paul Zindel, The Pigman; Robert Cormier, The Chocolate War; Cynthia Voigt, Dicey's Song; Liz Francesca Block, Weetzie Bat. Students will study the works assigned and secondary readings in history and criticism, participate in class discussion, lead discussions of assigned study questions, write brief papers to serve as basis for class discussion, do a collaborative multi-media or performance project, learn about library research in preparation for researching and writing a substantial critical paper, distribute to the class an annotated bibliography of resources to be consulted for the critical paper, and prepare a multi-page evaluation of the seminar and of the English major. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.)
497/498 B (Honors Senior Seminar/Senior Seminar)
Literature of Nature: The West. This course is exploratory. It enters a field that is just developing in English departments and provides an exciting new departure for me (as a Western American who loves the region and its writing but usually teaches 19th C. British literature). It offers a perhaps paradoxical capstone course for majors. After "acculturation" in English language and literature, you will go "back to nature." But recall that culture is part of nature, and the two can serve each other. Gary Snyder says words are wild. With an initial selection from Thoreau as a reference point in a tradition of nature writing, we turn to modern and contemporary writing on the West as paradise lost and gained for nature in America. The West for this course is close to home: the West Coast and inland Northwest. Our region has produced writers worthy of Thoreau. The "Western" in story and film is a subject in itself and beyond our range. Paradigms and perspectives include: romantic-sublime, pastoral, ecological, native american, feminine/feminist, zen. We cover quite a number of texts (essays, history, fiction, poetry), many of the in rich but slim volumes or in short (25-100 pp.) selections: Henry David Thoreau, Walden; John Muir, The Yosemite; Mary Austin, Land of Little Rain, Victor Hanson, Field Without Dreams, Defending the Agrarian Idea; Marc Reisner, Cadillac Desert, The American West and Its Disappearing Water (with John Huston's film Chinatown), James Welch, Winter in the Blood, Marilynne Robinson, Housekeeping, Gretel Ehrlich, The Solace of Open Spaces; Gary Snyder, Mountains and Rivers Without End; Richard White, The Organic Machine, The Remaking of the Columbia River. The seminar emphasizes discussion, with each student initiating discussion of a primary text. Taking advantage of the seminar format, each student will also present a short secondary selection that enriches the context for primary readings. For this, critical volumes on nature writing and on the human place in nautre by Buell and Cronon are recommended, and literary selections may be drawn from Barry Lopez, Jonathan Raban, John McPhee, Victor Hanson, Jack Kerouac, Sheila Watson or Ursula LeGuin on reserve. You will prepare informal (ungraded) notes on each primary text. These will be useful for a short paper on a single text or author (c. 5 pp.). I am open to adapt assignments to your purposes as you conclude your undergraduate work. Research, discussion, oral presentation, and critical writing represent practical skills that you can enhance and lay claim to via this course. Past senior seminars of mine have proved helpful to students for providing the basis of letters of recommendation and writing samples, whether for purposes of graduate school or other training, or employment. Grading: in-class 25%, short paper 25%, longer paper 50%. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: Mary Austin, Land of Little Rain; Gretel Ehrlich, The Solace of Open Spaces; John Muir, The Yosemite; Marc Reisner, Cadillac Desert, rev. ed.; Gary Snyder, Mountains and Rivers Without End; H. D. Thoreau, Walden; James Welch, Winter in the Blood; Richard White, The Organic Machine; optional: Laurence Buell, Thoreau, Nature Writing, and the Formation of the American Character; William Cronon, ed., Uncommon Ground: Rethinking the Human Place in Nature; Victor Hanson, Fields Without Dreams; Jack Kerouac, The Dharma Bums; Gary Snyder, A Place in Space.
497/498 C (Honors Senior Seminar/Senior Seminar)
Clarissa. Here is your chance to read unabridged one of the longest literary works in the English language, Samuel Richardson's Clarissa, or the History of a Young Lady (around 1500 pages), and participate in some of the interesting critical debates and controversies that have taken place around it. Course requirements will include: a weekly journal entry (1-2 pages) to be read by everyone else, a short class presentation on a topic of your choice (10-15 minutes), and a long seminar paper (8-10 pages) due at the end of the quarter. Attendance and active class participation is mandatory. As this is a senior seminar, I expect all participants will be seniors in the English department. Access to computers is necessary as the journal requirements will be dealt with electronically. Some interest in literary theory and criticism is expected, but no specialized knowledge is necessary. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.)
497/498 D (Honors Senior Seminar/Senior Seminar)
van den Berg
Literature and the Body. As John Donne wrote, "The body is his book," so in this seminar we'll read how different authors have written that book. What is the relationship between body and identity? How can we understand the tensions between different readings of the body as a sign of self or other, as beautiful or monstrous, as private or public, as knowable or unknowable? How are "real" bodies (marked by gender, race, age, disease, deformity) measured against a cultural "ideal" body? We'll use two of Shakespeare's plays, Antony and Cleopatra and The Tempest, as a basis for discussion. Then we'll read 19th-century fictions of monstrosity: Mary Shelley's Frankenstein, E.T.A. Hoffmann's The Sandman, and Oscar Wilde's The Picture of Dorian Gray. Twentieth-century readings will include Franz Kafka's Metamorphosis and The Hunger Artist, Toni Morrison's The Bluest Eye, Doris Lessing's The Fifth Child, Flannery O'Connor's Complete Stories, and Katherine Dunn's Geek Love. We'll end with Oliver Sacks' The Man Who Mistook his Wife for a Hat, about disruptions in the relationship between the idea of self and the experience of body. There will also be a packet of theoretical readings. Requirements: class discussion and presentations; substantial paper (at least 10 pages). (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.)
497/498 E (Honors Senior Seminar/Senior Seminar)
Four Contemporary Poets: Art, History, Identity. This seminar will focus on the works of four contemporary poets dealing with personal and family history. We'll begin with Robert Lowell's Life Studies, a sequence of poems and prose that deal with his childhood in a disintegrating New England aristocracy, his rebellion, and his mental collapse and recovery. We'll follow that with a reading of Derek Walcott's Another Life, a long poem tracing the "growth of a poet's mind" (and, in Walcott's case, a dramatist's and painter's mind as well) in racially and linguistically divided St. Lucia, a small island in the Caribbean. Then we'll turn to Sylvia Plath's Ariel, with its fierce and lucid treatments of failed relationships, and finish with Louise Gluck's Ararat, poems which deal with personal and familial wounds less through description than through the speaker's changing voice. No exams: grades will be based on three short papers and one long one. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: Lowell, Life Studies and For the Union Dead; Walcott, Collected Poems 1948 to 1984; Plath, Ariel; Gluck, Ararat.
497/498 F (Honors Senior Seminar/Senior Seminar)
"Evil" Women in Early Modern Tragedy and Contemporary Film. The over-riding concern of this seminar will be the construction of woman as "evil." We will begin an analysis of this topic by examining a number of Early Modern tracts on female nature by such writers as Juan Luis Vives, Joseph Swetnam, and John Knox. We will take the historical example of Queen Elizabeth I to study the period's anxieties about female power and apply our findings to tragedies such as The Tragedy of Mariam, The Changeling, Women Beware Women, 'Tis Pity She's a Whore and The Piano (film and screenplay). We will then turn to representations of female "evil" in contemporary films such as Fatal Attraction, Malice, To Die For, among others. We will ask questions about the similarities and differences in representation of women's "evil" between early modern texts and contemporary film. What do the similarities say about our culture, about its development and ideological investments? How different are the differences? To what extent are anxieties about female nature based in economics? What does sexuality have to do with it? What does motherhood have to do with it? What about desire? Have legal rights for women really changed the way in which women are represented in the entertainment industry? We will also read a number of theoretical texts on feminist theory, cultural materialism, psychoanalysis, and film studies by theorists such as Irigaray, Kristeva, Goux, Dolan, and Doane. I will assume students have some background in critical theories. Grades will be based on class participation, at least one presentation, and a 15-page research paper. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: Middleton, Five Plays; Ford, 'Tis Pity She's a Whore; Belsey, Critical Practice; Campion, The Piano; Cary, Tragedy of Mariam; Kristeva, Powers of Horror.
497/498 G (Honors Senior Seminar/Senior Seminar)
Remembering Childhood. Stories about the experience of being a child: what it meant then, what it means now, and how that experience gets remembered, or invented, in a narrative. So this will be a course about childhood in literature, but also about grownup memory and imagination on the subject of childhood. Possible reading would include autobiographical memoirs l as well as fictional or semi-fictional stories. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: Penelope Lively, Oleander, Jacaranda; Mary Karp, The Liars' Club; Roddy Doyle, Paddy Clarke Ha Ha Ha; Tobias Wolff, This Boy's Life; A. Camus, The First Man; Joy Kogawa, Obasan; Angela Carter, The Magic Toyshop; C. Bronte, Jane Eyre.
497/498 H (Honors Senior Seminar/Senior Seminar)
Ulysses. This is a comprehensive introduction to James Joyce's Ulysses as the summit of modernism, emphasizing Joyce's exuberant comic transvaluation of all novelistic values (narrative devices, generic conventions, topics, perspectives, styles and humors). To dispel fear of Ulysses, we'll approach it one episode at a time, focusing on how it makes sense and what it makes of sense-the limits no less than the leaps, hops and scotches of it. Requirements include weekly assignments and a course-length research project. Desiderata: inklings of Joyce's earlier work, intimacy with The Odyssey, interest in sly uses of language. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: James Joyce, Ulysses (The Corrected Text); Don Gifford and Robert Seidman, Notes for Joyce; Derek Attridge, ed., The Cambridge Companion to James Joyce.
497/498 I (Honors Senior Seminar/Senior Seminar)
Homer: The Iliad and the Odyssey. At one of the wellsprings of western civilization, its great epic about war and one of its great romances of adventure and homecoming, both chanted by a bard known to us as Homer. "Hark to the voice of the Bard." How to do that will be the task of this course, not easy since the latest possible date for Homer to have lived is usually given as about 2700 years ago. I hope we can work with equal measures of diligence, caution, and enthusiasm. (497: Senior Honors majors only; add codes in A-11 PDL; 498: Senior majors only.) Texts: Homer, Iliad (tr. Fitzgerald); Odyssey (tr. Fagles). (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.)
497/498 J (Honors Senior Seminar/Senior Seminar)
The Brontës. An intensive examination of the life and works of one of literature's most famous families. Beginning by sorting through the facts and fictions that surround their biographies, we will then read their juvenilia and poetry. We will study the novels in order of their publication. Attendance is required and active participation expected; students should expect at least two substantial papers, bibliographical work, and several shorter writing assignments. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) Texts: Juvenilia and Poems of the Brontës; Jane Eyre; Agnes Grey; Wuthering Heights; Tenant of Wildfell Hall; Shirley; Villette.
497/498 YA (Honors Senior Seminar/Senior Seminar)
MW 7-8:50 pm
Love Stories. This senior seminar will be a course in love stories. We will read a variety of conventional and unconventional such stories; we will examine our own love stories (not our own love lives! Or at least not in public), and maybe try our hands at writing one; we will try to understand how stories can make for love and love make for stories; we will ask if the richness of a culture is in any way connected to the variety and quality of love stories available in it. Lots of writing, including a seminar paper, and class discussions in which all members of the class will be expected to participate. No test nor exams. See me for more details. (497: Senior Honors majors only--add codes in A-11 PDL; 498: Senior majors only.) (Evening Degree students only, Registration Periods 1 & 2.) Texts: Erich Segal, Love Story; Robert Waller, Bridges of Madison County; Jeanette Winterson, Written on the Body; Elizabeth McCracken, The Giant's House; Julian Barnes, Flaubert's Parrot; Vladimir Nabokov, Lolita; Nella Larsen, Passing; Shawn Wong, American Knees; A. S. Byatt, Possession.
499 A (Independent Study)
Individual study by arrangement with instructor. Prerequisite: permission of Director of Undergraduate Programs. (Faculty codes in Undergraduate Programs office, A-11 PDL.)