400-Level Courses

 Course Descriptions (as of November 19, 1997)
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.)


Special Topics in Cultural Studies
MW 2:30-4:20
Electronic Culture. This course considers the ways in which mass culture is being reshaped as a result of new electronic technologies. Writing in the 1960s, Marshall McLuhan argued that "the medium is the message," that the contents of any culture cannot be abstracted from the technologies through which those contents are produced, conveyed, and preserved. Even if the words are identical, a message sent by e-mail is different from one sent via surface mail, and a conversation over the telephone is different from one conducted in person. The film I watch on my VCR is not the "same" as it was when I saw it in the movie theater. All media, McLuhan says, are "extensions of ourselves'; new technologies literally change "the ratios of our senses," as they alter the experiential structures of space and time. McLuhan prophesied radical cultural dislocations, as human culture was transformed from one that was predominantly local, linear, and print-based, into one that is polyphonic, electronic, global, and dominated by multimedia. What once seemed visionary and controversial has now become generally accepted to the point of banality. More and more people are subscribing to the Internet, Vice President Al Gore and House Speaker Newt Gingrich lead discussions on the forthcoming "information superhighway," and multinational corporations are busily jockeying for their slices of the pie. In this class I want to return to McLuhan, and use his provocative ideas as a basis for exploring the new, emerging electronic culture. Many writers and theorists since McLuhan have discussed the sociological implications of electronic culture, and many have discussed its economic and political underpinnings; but relatively few have taken up McLuhan's concern with the "aesthetics" of such a culture: its sensory, affective and libidinal dimensions, the question of what it will look, sound, and feel like, and what desires will be aroused and propagated within it: in short, how these innovations will alter consciousness itself. It is this latter area that I would like to explore in this class. I want to look into the new electronic forms of culture, to decode the new messages that are being conveyed by the new media currently in their birth throes (video, personal computers, information networks, interactive games, virtual reality). We will look both at theoretical writing by McLuhan and more recent thinkers, and at works in various forms (science fiction novels, videos, multimedia, and Internet resources) that speculate upon, or actively participate in, these new cultural crosscurrents and transformations. This will be an Internet-interactive course; we will engage in research and projects on the Internet, as well as reading theoretically about it. Class requirements include participation in discussions, one short paper, and a final project which will take the multiple forms of an in-class presentation, a web site, and a research paper. Texts: Peter Ludlow, ed., High Noon on the Electric Frontier; Marshall McLuhan (with Quentin Fiore), The Medium is the Massage; Allucquere Rosanne Stone, The War of Desire and Technology at the Close of the Mechanical Age; Benjamin Woolley, Virtual Worlds; David Porter, ed., Internet Culture; Elizabeth Castro, HTML for the World Wide Web, 2nd ed. 
Special Topics in Cultural Studies
TTh 7-8:50 p.m.
Body Technologies. The socio-historical setting for what I have called "Techno-Bodies" is late twentieth-century America. Some attention will also be paid to the early history of body technologies and, where applicable, the non-Western cultures in which they originated. The course title is intended to signal bodily decorations, modifications, prosthesis, and techniques whose particular expressions include: fashion, body-building, tattooing, piercing, sex-change procedures, techno-sex (e.g., toys, how-to manuals, phone-sex) and repro-technologies (e.g., artificial insemination and surrogacy). The central questions of the course are: what factors contributed to the emergence of these technologies, whom do they serve and/or what are the use-values of each, and what effects are they having-individually and collectively-on contemporary understandings of gender, sexuality, pleasure, pain, and the body which is their site. During the quarter we'll read a number of critical essays, some legal and medical texts, and work produced by and immediately for people who identify as body builders, transsexualls, piercers, tattooers, in a word, techno-bodies of one sort or another. Videos supplement the course. Active participation, an oral presentation, a final paper/project and short written responses are required. (Evening Degree students only, Registration Periods 1 & 2.) Texts: Foucault, History of Sexuality, Vol. 1; Balsamo, Technologies of the Gendered Body; Lowe, The Body in Late Capitalist U.S.A.; V. and June A. Vale, eds., Modern Primitives. 
British Writers: Studies in Major Authors
TTh 7-8:50 p.m.
Clarissa.. The first great English novel, and still the longest, so it will take the whole course to do it. The actual reading isn't so bad-about 150 pp/week - but people taking the course must be willing to feel the ship is leaving in week 1 and will be on open seas thereafter. Frequent short writing, no exams. (Evening Degree students only, Registration Periods 1 & 2; will meet Period 2 requirement for English major.) Text: Richardson, Clarissa. 
Topics in American Literature
MW 11:30-1:20
Asian American Sexualities. "We know damned well what you came for to see-the angle we're joined at, how we came to have two sisters for wives and twenty-one Chinese-Carolinian children between us…. You want to look at the hyphen. You want to look at it bare." This course examines how Asian American writers have addressed the complicated, twinned issues of sexual and racial identity. While it may be argued that sexuality is an integral part of every person's identification, we will be interested in the dynamic between racialization and sexualization as it relates to Asian Americans. We will try to assess the impact of sexual stereotypes about Asian Americans by examining how Asian American writers from different cultural and historical milieus have treated concepts of sexuality affecting their communities. Students should be prepared to participate vigorously in class discussions. Two in-class exams and a final paper required. Texts: David Mura, Where the Body Meets Memory; David Henry Hwang, M. Butterfly; Shawn Wong, American Knees; Louis Chu, Eat a Bowl of Tea; Jessica Hagedorn, Dogeaters; Geraldine Kudaka, ed., On a Bed of Rice. 
Topics in American Literature
TTh 2:30-4:20
Asian American Literature: Pioneers and Precursors. This class is an exploration of the germination and flowering around the time of the Second World War of the pioneer generation of Asian American authors with a quick look back at some of their turn-of-the-century (19th/20th that is) precursors. Works we will read represent a number of the subgroups that make up the variety of Asian Pacific America representing the first immigrations: Chinese, Filipino, Japanese, Korean. They are focused on the experience of being Asian American, as that ambiguous term is generally used, given structure and meaning through prose narrative. Our reading will be done against the backdrop of Asian immigration history, the situation, political, economic and social, of Asians in English-speaking North America. Some prior familiarity with that territory will facilitate things-perhaps the reading of a text such as Ron Takaki's Strangers from a Different Shore. Two formal papers are required: one preliminary and exploratory, the second a full-length research or critical paper growing out of the first. There will also be several short informal papers to help focus themes and ideas as we go along. These will also serve as centers for discussion. Participation in class discussions is expected. There will be no examinations or quizzes. (Meets with AAS 401; will meet Field Requirement for English majors.) Texts: Carlos Bulosan, America is in the Heart; Louis Chu, Eat a Bowl of Tea; Edith Eaton, Mrs. Spring Fragrance and Other Writings; Younghill Kang, East Goes West: The Making of an Oriental Yankee; Kazuo Miyamoto, One Man's Journey; Hawaii: The End of the Rainbow; John Okada, No-No Boy; Bienvenido N. Santos, Memory's Fictions: A Personal History; Scent of Apples: A Collection of Stories; recommended: Diana Chang, The Frontiers of Love; Toshio Mori, Yokohama, California; Milton Murayama, All I Asking for is My Body; Monica Sone, Nisei Daughter; Hisaye Yamamoto, Seventeen Syllables and Other Stories; Wakako Yamauchi, Songs My Mother Taught Me: Stories, Plays, and Memoir. 
Gay & Lesbian Studies
TTh 1:30-3:20
During the quarter we will focus on the politics of "queer representation," paying particular attention to how gays, lesbians, and/or queer-identified subjects are represented, in what contexts, by whom, at what points in time, and with what consequences. Some of the representations we'll be looking at are drawn from mainstream media and government documents; the majority are the work of self-identified lesbian and gay fiction writers, performance artists, film and video-makers, educators, columnists, and critics. Texts: Kenan, A Visitation of Spirits; Schulman, Rat Bohemia; Robson, Another Mother; Duberman, A Queer World. 
Gay & Lesbian Studies
MW 1:30-3:20
Problems of Lesbian and Gay Representation in Fiction, Theory, and Cinema. Thirty-five years ago the prospect of television shows and Hollywood movies featuring unapologetically gay or Lesbian characters was almost unthinkable. Things are way different now. Through a selective overview of twentieth-century media, we will focus on the changes in the possibilities of representation that have brought matters to their present state. Our texts will include fiction by Barnes, Forster, Indiana, Califia, Winterson, and Cooper; theory by Freud, Foucault, Butler, Bersani, Nero, and Riggs; and films by Merchant/Ivory and Dunye. Texts: Forster, Maurice; Barnes, Nightwood; Freud, Three Essays on the Theory of Sexuality; Foucault, The History of Sexuality; Cooper, Closer; Winterson, Oranges Are Not the Only Fruit; Hemphill, Brother to Brother; photocopied course packet. 
Composition Process
TTh 11:30-1:20
[Consideration of psychological and formal elements basic to writing and related forms of nonverbal expression and the critical principles that apply to evaluation.] Texts: Tate, Corbett & Myers, eds. The Writing Teacher's Sourcebook; Dixon & Stratta, Writing Narrative--and Beyond. Add codes in English Advising office, A-2-B PDL.
Children's Literature
MW 8:30-10;20
Classics of Children's and Young Adult Literature. Countless writers, and even ordinary humans, have testified to the shaping power of being read to and of reading in their early years. We will read, and discuss in class, most or all of the following: stories from Perrault, Grimm, Jacobs, and others; poems from Newberry, Lear, Stevenson; tales of Beatrix Potter; Little Women; Tom Sawyer; The Secret Garden; Treasure Island; The Wizard of Oz; The Wind in the Willows; Peter Pan; Malaeska; Ragged Dick; Betty Leicester; Riders of the Purple Sage; Seventeenth Summer; The Pigman; The Chocolate War; Dicey's Song; Weetzie Bat. We will also discuss cultural contexts of reading, writing, publishing, and teaching children's and young adult literature. Mid-term and final exam, two papers, other exercises. Texts: Griffith & Frey, Classics of Children's Literature; Daly, Seventeenth Summer; Zindel, The Pigman; Cormier, The Chocolate War; Voigt, Dicey's Song; Block, Weetzie Bat; Alger, Ragged Dick; Kipling, Captains Courageous; Grey, Riders of the Purple Sage; Hinton, The Outsiders. 
Special Studies in Expository Writing
TTh 12:30-1:50
Writing Hyper-Text. This is a class in writing hypertext in HTML for posting on the Net. Our interest ranges over four uses of this new medium: for self- and artistic expression; for finding and exchanging information; for advocating positions and debating public issues; for providing instruction. We will have less to say and do with HTML on the Net as a means of advertising and marketing, public relations, or recreation. Some sessions will be taught in a computer lab, and we will do a quick "homepage" course if you don't have one yet ("new-weber" and all that) and cover topics including: markup languages (LaTex, SGML, HTML); DTDs and validation; types of hypertext structures; shaping navigation; style guides and principles of "good HTML"; net search tools; monitoring traffic; inclusion of images and sound (multimedia) (copyright!). In addition to spiffing up your home page, we will work on group projects to create archive sites on topics of general interest and on individual projects as well. You will be able to work from home (via a modem) or another campus lab outside of class (and you will probably want to and need to). Text: Musciano & Kennedy, HTML: The Definitive Guide.
Advanced Verse Writing
MW 2:30-3:50
[Experience with the theory and practice of writing the short story.] Prerequisite: ENGL 383 or equivalent and writing sample. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily.
Advanced Verse Writing
TTh 11:30-12:50
Experience with the theory and practice of writing the short story. No texts. Prerequisite: ENGL 383 or equivalent and writing sample. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily.
Advanced Short Story Writing
TTh 1:30-3:20
Reading, rereading, writing and rewriting short and short-short stories. Prerequisite: ENGL 384 or equivalent. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Texts: Jerome Stern, ed., Microfiction: An Anthology of Really Short Stories; Shaparo & Thomas, eds., Sudden Fiction: American Short-Short Stories; photocopied course packet. 
Advanced Short Story Writing
MW 1:30-2:50
Reading, rereading, writing and rewriting short and short-short stories. Prerequisite: ENGL 384 or equivalent. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Texts: Jerome Stern, ed., Microfiction: An Anthology of Really Short Stories; Shaparo & Thomas, eds., Sudden Fiction: American Short-Short Stories; photocopied course packet. 
Novel Writing
MW 3:30-4:50
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.Prerequisite: ENGL 384, 484, or equivalent and writing sample. Add codes in Creative Writing office, B-25 PDL, (206) 543-9865, open 11-3 daily. Texts: Stephen Wright, M-31: A Family Romance; David Lodge, The Art of Fiction.
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.
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.
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.
Honors Seminar
MW 12:30-2:20
Sympathy for the Devil. In this course we will examine representations of evil in literature from the Bible until the beginning of the 19th century. We will start with Genesis, and work our way through Job, Milton, Marlowe, Radcliffe, Monk Lewis, Burke, Olaudah Equiano, the Shelleys, Blake, Byron, and Emily Brontë. These authors and texts will generate such topics as the seductiveness of Satan, the relationship between the devil and divine humanity, fallen humanity and race, origins of the Byronic hero, the relationship between satanism and gothicism, and other issues. Students will also read a number of works of criticism, write several short papers and one term paper. (Departmental honors students only; add codes in Undergraduate Programs office, A-11 PDL.) Texts:The Bible (King James Version); Milton, Paradise Lost; Marlowe, Dr. Faustus; Radcliffe, The Italian; Equiano, The Interesting Narrative…; Mary Shelley, Frankenstein; Emily Brontë, Wuthering Heights. 
Major Conference for Honors in Creative Writing
TTh 12:30-2:20
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.
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.
Honors Senior Seminar/Senior Seminar
MW 9:30-11:20
U.S. Reversal Narratives and Citizenship at the Turn of the Century. In Plessy v. Ferguson, the majority indulges in a little shoe-on-the-other-foot fantasy about how whites wouldn't mind if legal segregation were imposed by a black legislature. When read with the numerous African American texts using reversal devices, such as chiasmus and passing, to turn the tables on racist perception, the Court's "trading places" narrative looks like a kind of rhetorical blackface that attempts to disguise racist law as fair play. Indeed, the Court's imaginative reversal can be read as expressing an apprehension that law must speak in a cultural idiom of justice, an idiom that includes narratives of exchanged identities and figures of speech such as "poetic justice" and "turn about is fair play." In this course, we will attempt to observe and study the development of this cultural idiom of justice and membership by conducting a survey of the figure of reversal in American literature and law at the turn of the century. The reading list will include, among other things, Alger's Ragged Dick, Howells's Rise of Silas Lapham, Johnson's Autobiography of an Ex-Coloured Man, Twain's Puddn'head Wilson, Cahan's The Rise of David Levinsky.
Honors Senior Seminar/Senior Seminar
MW 10:30-12:20
Literature and Politics of the Cold War. During the early Cold War (1945-1955) gifted Left writers like Meridel Le Sueur disappeared from public view. Using Le Sueur as an example, we'll then go on to look at the politics and cultural politics of the Cold War so that we can get under the surface and engage in detail the still unresolved conflicts, passions, and contradictions of this era, from one point of view as remote as the Age of Chaucer, from another at once the precursor and unarticulated antagonist of postmodernism. In bringing together literature and politics, we'll select from among such topics as foreign and domestic anti-communism, including the role of the UW and the Canwell Committee; the OK literature of the 1950s, represented by Robert Lowell; Beat and other disruptions (Ginsberg; Arthur Miller); the Rosenbergs reconsidered: postmodernism and politics (Doctorow's The Book of Daniel); a unit on Miller's The Crucible, including the Sartre-Yves Montand-Simone Signoret French version and Miller's recent film adaptation; a unit on Naming Names: Hollywood, HUAC, and the Blacklist, including Miller's A View from the Bridge and Kazan-Brando On the Waterfront, Woody Allen in The Front, The Salt of the Earth (film by blacklisted film makers), Invasion of the Body Snatchers. The sexual politics of the 1950s and 1990s are a persistent subtext. I hope for lively discussion of the challenging literary, political, and cultural issues we will be considering.
Honors Senior Seminar/Senior Seminar
MW 12:30-2:20
Feminism and Psychoanalysis. This course is designed to allow students to familiarize themselves with some of the most important psychoanalytic texts used in feminist theory. You may have read a few of Freud and Lacan's articles before in your other courses. However, here we will have the opportunity to read these texts in more detail, and in the larger context of these psychoanalysts' work. The course will begin with essays by Freud on the development of sexuality and on femininity. We will then read the works of two women analysts: Karen Horney and Melanie Klein. Both these women, particularly Horney, have been somewhat neglected by feminist theory. In addition to analyzing their work, we will pose the question of why it is that they have been so neglected. We will then move on to the work of French psychoanalyst Jacques Lacan, whose writings have been highly influential for feminist theory. His rereadings of Freud in the light of Saussurean semiotic theories have allowed for a psychoanalysis, some say, which resists a universalizing and naturalizing tendency. We will assess whether this claim is valid, and will try to come to some conclusions about why feminists have been caught in the clutches of Lacanian theory. Having studied these "forefathers" and "foremothers" of psychoanalysis, we will then move on to Sarah Kofman's reading of Freud's essays on women, some selected articles by Luce Irigaray, Julia Kristeva, Jane Gallop, Margaret Whitford, Gayatri Spivak, Joan Copjec, Jacqueline Rose, Cynthis Chase, Claire Kahane, Mary Poovey, Judith Butler, Hortense Spillers, Anne McClintock, Parveen Adams and others.
Honors Senior Seminar/Senior Seminar
MW 1:30-3:20
Myth and Magical Realism in the Literature of Black Women Writers. We will examine how the elements of time and magical realism work in harmony with mythical images of tricksters and storytellers. Texts: Danticat, Krik Krak; Octavia Butler, Kindred; Toni Morrison, Tar Baby; Gloria Naylor, Bailey's Café; Keri Hulme, Bone People.
Honors Senior Seminar/Senior Seminar
TTh 9:30-11:20
Producing Shakespeare. Since enrollment in a senior seminar is limited, it provides an all-too-rare opportunity to participate in a small group, rather than a class of 50+. Another (even more rare?) opportunity it can offer is a period of close and detailed study of a single major work of literature. So this seminar starts with the idea that we have ten weeks to work on a production of Shakespeare's Measure for Measure. Whether this presentation actually takes place is beside the point: we will, by the end of the quarter, have come to know this play very well indeed.  We will also have given plenty of thought to the questions and problems (which remain as complex and debatable in 1998 as they were in 1604) it poses.  And we will have worked to develop a production good enough to delight and instruct (in that order, please) some lucky, if putative, audience. No previous acting/directing experience necessary, but willingness to have a shot at reading parts, directing scenes, etc., is essential. Texts: Shakespeare, Measure for Measure; (supplementary) Merchant of Venice.
Honors Senior Seminar/Senior Seminar
TTh 11:30-1:20
Gawain. What we will be doing in this course is tracing the history of Gawain through his many appearances in medieval literature-from Celtic sun god to the vengeful knight whose hatred for Lancelot helps bring down the kingdom of Arthur. Gawain's character is one that evolves with time. He is always recognizable when he appears in different works, but rarely the same. What we will be trying to do is figure out some of the reasons for the changes he undergoes. Why, for example, does such and such an author do thus and so with his inherited figure? What limitations are put on him because he is taking his figure from a ready-made tradition? What freedoms does he have, what liberties can he take? It is not only the changing character of Gawain which we will be looking at, however, but how we judge the relative merits of the various stories in which he appears. What makes a story good? or better than other stories? There will be a substantial amount of writing involved in this course. But we will decide as a group whether you want to do a single long paper or maybe two shorter ones. There will be a seminar report, and everybody will be expected to participate in the discussion. As little lecture as possible. Texts: Vantuono, ed., Sir Gawain and the Green Knight; Louis B. Hall, ed., The Knightly Tales of Sir Gawain; Ruth Cline, tr., The Knight of the Lion. 
Honors Senior Seminar/Senior Seminar
TTh 12:30-2:20
Housekeeping. When asked what books he read again and again, the American poet Robert Frost said "I go back to Robinson Crusoe and Walden. I never tire of being shown how the limited can make snug in the limitless." In this course we'll follow Frost's lead to explore the ways that several novelists (and Frost himself, in some of his poems) have seen the stakes involved in "limited" human beings making a home in a limitless world. We'll begin with Defoe's Robinson Crusoe, then to Thoreau's Walden, then to selected poems by Frost, from there to Marilynne Robinson's Housekeeping and to Maitland's Three Times Table. If we have time, we'll also look at Morrison's Beloved. (I won't order this book. If we have time to do it, you'll find it easily on the shelves of contemporary fiction.) Expect to do weekly writing about these books, and be prepared also to deliver and defend your written work in class. No exams: your grade will be based on the considerable body of writing you'll be doing.
Honors Senior Seminar/Senior Seminar 
TTh 1:30-3:20
Conversions and Confessions. This course is designed as an exciting capstone for students how have concentrated their major courses in American literature, especially with a focus on genre, national identity, race, gender, African American culture, feminism, moral values, and/or personal narratives and other autobiographical forms. Reading and writing about 19th- and 20th-century American first person fictive narratives, we will ask (and answer) such questions as: How does an "American" represent in text a life-altering, transformational experience? How does an "American" use text to represent a moral dilemma and the consequences of moral or spiritual choice? What language or discourse does an "American" invoke to describe a conversion experience, be that conversion from sin to salvation, from slavery to freedom, from submission to sovereignty, from certitude to dissolution? What motivates an "American" to confess the issues of personal growth, or personal failure? Texts: Douglass, The Narrative of the Life…; Wilson, Our Nig; Twain, The Adventures of Huckleberry Finn; Gilman, The Yellow Wallpaper; Wharton, Ethan Frome; Johnson, The Autobiography of an Ex-Colored Man; Jill Nelson, Volunteer Slavery; MLA Handbook; Longman Dictionary of Poetic Terms.
Honors Senior Seminar/Senior Seminar
TTh 3:30-5:20
British Writing in the 1930s. We will read fiction and poetry written during the 1930s in England. Authors included are Elizabeth Bowen, Christopher Isherwood, W. H. Auden, Virginia Woolf, George Orwell, and Jean Rhys. We will investigate the relationship between the turbulent events of this decade and the literature that emerged from it. Attendance is required in this seminar, and students should expect to do a considerable amount of reading-historical and critical studies in addition to the assigned texts. Texts: Elizabeth Bowen, Death of the Heart; C. Isherwood, Berlin Stories; Virginia Woolf, The Years; The Pargiters; Three Guineas; George Orwell, Down and Out in London and Paris; Jean Rhys, Voyage in the Dark; W. H. Auden, Selected Poems. 
Honors Senior Seminar/Senior Seminar
TTh 4:30-6:20 p.m.
Thinking Beyond Race in American Literature and Culture. This course will examine how important writers have devised innovative ways to think beyond race, to make racial identity problematic rather than a given. Our central texts include Ralph Ellison's classic Invisible Man and some of his landmark essays. We will also discuss a key predecessor--W.E.B. DuBois--and some figures who might be said to comprise Ellison's contemporary descendants--Patricia Williams, Adrienne Kennedy and Richard Rodriguez. All of these writers challenge the pervasive, simplistic (and very American) assumptions that tend to stunt our thinking about race, identity, and ethnicity. (Evening Degree students only, Registration Periods 1 & 2.) Texts:DuBois, Souls of Black Folk; Rodriguez, Hunger of Memory; Ellison, Invisible Man; Shadow and Act; Adrienne Kennedy, People Who Led to My Plays; David Hollinger, Post-Ethnic America; Richard Wright, Black Boy; recommended: Thomas Gossett, Race: The History of An Idea.
Independent Study
Individual study by arrangement with instructor. Prerequisite: permission of Director of Undergraduate Programs. (Faculty codes in Undergraduate Programs office, A-11 PDL.)

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