(Last updated: 6 June 2001)
The following course descriptions have been written by individual instructors to provide more detailed information on specific sections than that found in the General Catalog. When individual descriptions are not available, the General Catalog descriptions [in brackets] are used.
Students not previously admitted to the University of Washington (nonmatriculated status) may enroll in ENGL 111, 121, 131, 281, 381, 471, or 481 only if they have met the following ESL requirements: a score of at least 580 on the TOEFL or one of these equivalent scores: 90 on the MTELP, 410 on the SAT-Verbal, 490 on the SAT-Verbal (recentered), or 20 on the ACT English. For more information, consult an English adviser in A-2-B Padelford, (206) 543-2634, email@example.com.
104 (Introductory Composition)
[Development of writing skills: sentence strategies and paragraph structures. Expository, critical, and persuasive essay techniques based on analysis of selected readings. For Educational Opportunity Program students only, upon recommendation by the Office of Minority Affairs.]
111 (Composition: Literature)
2 sections: M-Th 9:40; M-Th 12:00
[Study and practice of good writing: topics derived from reading and discussing stories, poems, essays, and plays.] Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
121 (Composition: Social Issues)
[Study and practice of good writing; topics derived from reading and discussing essays and fiction about current social and moral issues.] Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
131 (Composition: Exposition)
5 sections: M-Th 8:30; M-Th 10:00-12:10; M-Th 10:50; M-Th 12:00
[Study and practice of good writing; topics derived from a variety of personal, academic, and public subjects.] Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
200 A (Reading Literature)
This course will introduce students to a variety of literary styles and genres including drama, the novel, and film. We will work our way from the middle ages to the present using Dangerous Women/Women In Danger as our theme. What sorts of social anxieties find voice in representations of femininity? What types of cultural work do these tropes accomplish? Course work includes weekly response papers as well as longer, more polished essays. Texts under consideration may include Sir Gawain and the Green Knight, Shakespeare's King Lear; Dickens' Great Expectations; Morrison's Sula, and Allison's Bastard out of Carolina as well as shorter works and films.
200 B (Reading Literature)
This quarter we'll be focusing on how literary artists create meaning, connecting their aesthetic craft to our psychological and emotional reactions. We will read a wide range of materials, from poetry to experimental prose, from different countries and a number of time periods. This course is also a writing course, and the writing assignments will include both literary interpretation and literary experimentation. My description here is necessarily brief; I'm looking forward to teaching this course, and expect that if you take it, you will be enthusiastic, creative, and willing to take a few risks. Texts: Italo Calvino, If on a Winter's Night a Traveler; Thomas Pynchon, Vineland; photocopied course packet.
200 C (Reading Literature)
Women of Color Write. This course is an introduction to reading and writing about literature for students of all disciplines. We will examine literature written by U.S. women of color in the last 30 years or so, and our project will be largely comparative. For example, we will explore what issues (including history, responses to nationalisms, “place” making, etc.) are shared by Chicana/Latina writers, Asian American women writers and African American women writers. In addition, what issues are distinct to each of the groups of these writers? Although our intellectual focus will be on these texts/issues, this class is designed to functionally help students read and write more analytically. Special attention will be given to “close readings,” arguments/claims, and general paper writing. Requirements: three short (4-6 page) papers, in-class participation (including leading discussion), and short written homework assignments. Texts: Theresa Cha, Dictee; Sandra Cisneros, Woman Hollering Creek; Danzy Senna, Caucasia; Michele Serros, How to be a Chicana Role Model; photocopied course packet.
200 D (Reading Literature)
This section of ENGL 200 takes the general title, “Reading Literature,” quite literally. In this course we will be examining our current reading practice, which could be highly sophisticated and individual or limited tow hat literature is assigned within a classroom context. Our goal is an exhaustive study of why we read, how we read, what we read, and how we choose what we read, in order to craft a set of reading criteria to take out of the classroom and into our “real” lives. To this end, we will be reading novels and short stories that fall into four general areas: “The Classic”; “The Movie Tie-In”; “The Bestseller”; and “The Oprah Selection.” In addition to the four novels, we will be reading at least eight short stories from the anthology, The Story and Its Writer: An Introduction to Short Fiction. The reading for this class is demanding, as is the amount of reflective writing you are expected to produce. We will spend much of our time in discussion and hopefully together create and/or further an enjoyable reading practice for each of you. Texts: Ann Charters, ed., The Story and Its Writer; Bernhard Schlink, The Reader; Zora Neale Hurston, Their Eyes Were Watching God; Mary Doria Russell, The Sparrow; Michael Ondaatje, The English Patient.
211aA (Medieval & Renaissance Literature)
ENGL 211 serves many purposes: it is one of the choices to meet the “gateway” requirement for entering the English major, it may be used toward the Period 1 requirement for English majors, and it also may be counted toward the VLPA General Education requirement. As an introduction to the earliest periods in English language and literature, the course surveys a wide range of material quickly. As an introduction to the discipline of literary study for students planning to enter (or complete) the English major, the course also includes attention to research skills, and to current critical approaches to reading and writing about literary texts. Assignments include daily reading, response papers, an exam, and a final research project. This course is computer-integrated; no previous computer experience is required. (Questions? Instructor can be reached at firstname.lastname@example.org.) Texts: Sir Gawain and the Green Knight (tr. Harrison); Wilson, ed., Medieval Women Writers; Chaucer, The Canterbury Tales (ed. Hieatt & Hieatt); Shakespeare, A Midsummer Night’s Dream; photocopied course packet; Computer-Integrated Student Supplement (both available at CMU copy center).
212 A (Literature of Enlightenment & Revolution)
This introductory course will examine literature of the 18th – early 19th centuries. Writers of this time took on “big” questions: what is the nature of God? Can humans know and understand the world? What is the best way to organize society? What should our relationship with nature be? What is the role of imagination? Reason? Education? Feeling? Love? Their answers to these questions continue to influence the way we think. Course requirements include: take-home midterm, in-class midterm, group project, 4-6 pp. essay, various short writing assignments, active class participation. Expect some lecture (on historical background and other contexts), more discussion, demanding (but rewarding) reading. Texts: Alexander Pope, Essay on Man and Other Poems; David Hume, Dialogues Concerning Natural Religion; Jonathan Swift, Gulliver’s Travels; Voltaire, Candide; Goethe, The Sorrows of Young Werther; Mary Shelley, Frankenstein; William Blake, Songs of Innocence and of Experience; Jane Austen, Sense and Sensibility.
213aA (Modern & Postmodern Literature)
Twentieth-century American dreams and nightmares are the subject of this course: short stories, novels, poetry, film, and political speeches are the texts. Three basic questions will guide our reading of each dream work: (1) What is the vision and how is it expressed? (2) Under what socio-historical conditions is the dream produced and how might they shape its composition? (3) What are the dream work’s real life consequences and for whom? Texts: Hurston, Their Eyes Were Watching God; Kerouac, On the Road; photocopied course packet.
225 A (Shakespeare)
Survey of Shakespeare’s career as dramatist. Study of representative comedies, tragedies, romances, and history plays. Texts: Shakespeare, Julius Caesar; Twelfth Night; Anthony and Cleopatra.
230aA (English Literary Culture: After 1800)
Expect an intense month of reading, writing and discussion where the goal is to understand the advent of modernity in English life and literature, 1800 to the present. That ‘advent” includes the mercurial career of empire, of industry, and of urban and rural life from Blake’s “little lamb, who made thee?” to the current scourge of hoof and mouth disease. Our texts will range from 19th century poetry and fiction to 20th century film and music. Writing in and out of class, one exam. Texts: Dover Thrift editions of: English Romantic Poetry; English Victorian Poetry; World War One British Poets; Conrad, Heart of Darkness; D. H. Lawrence, Selected Short Stories; Virginia Woolf, Monday or Tuesday: Eight Stories; photocopied course packet on reserve, films and audio in UGL
242 A (Reading Fiction)
Our central focus for ENGL 242 will be an effort to explore the relation between fiction and American identity. In order to achieve a better understanding of this relation, we'll look through a broad overview of American fiction, from the late-nineteenth-century humor of Mark Twain to the recent science fiction vision of William Gibson. We'll bring to this broad overview a methodology that (1) closely examines the langauge that these authors use and (2) attempts to place these novels within a cultural and historical context. This methodology will help us answer three fundamental questions: what message(s) are these authors presenting to the reader, how are they presenting that message, and why would that message have been important at that particular moment in American history? Requirements: Lots of reading, lots of writing, lots of active participation in class discussion. Texts: William Gibson, Neuromancer; Thomas Pyncho, The Crying of Lot 49; William Faulkner, Absalom, Absalom!; Frank Norris, McTeague; Mark Twain, The Adventures of Huckleberry Finn.
242 B (Reading Fiction)
MW 12 – 2
NOTE DAY/TIME CHANGE from listing in printed Time Schedule.
Vicarious Road Trips: Stuck in Seattle. Taking classes instead of hitting the road? You may as well cover some ground within the pages of classic road trip fiction. We’ll take some less-traveled roads using unusual means: Sherman Alexie’s Smoke Signals, Linda Hogan’s Solar Storms, John Steinbeck’s The Grapes of Wrath, Douglas Adams’ The Hitchhiker’s Guide to the Galaxy, among others. We will ask such questions as: From what literary traidtions and conventions do authors of contemporary road trip narratives draw and why? What are some typical motifs and themes in this sub-genre of travel writing? How do race, class, age and gender figure into The Road Trip? The class will examine and discuss fictional writing as well as some films. Assignments may include the following: Daily reading assignments in preparation for participation in class discussion, daily in-class writing assignments and small-group collaborative learning exercises, mini-presentations of background research on subjects and authors of focal narratives, quizzes, a midterm, a final literary essay. Texts: Sherman Alexie, Smoke Signals (screenplay); Linda Hogan, Solar Storms; John Steinbeck, The Grapes of Wrath; Douglas Adams, Hitchhiker’s Guide to the Galaxy; Helen Campbell, Turnip Blues; Octavia Butler, Parable of the Sower; Danzy Senna, Caucasia; Callie Khouri, Thelma and Louise (screenplay).
250aA (Introduction to American Literature)
In this course we will consider four important issues in American literature: captivity, passing, work, and authorship. We will be reading texts that complicate our understanding of what it means to be an American and what it means to be an author. This course is not a survey of American literature, but rather an introduction to the issues, problems, and questions raised by some of its texts. We will be reading and discussing the works intensively, and requirements will include weekly in-class writing assignments and a final essay. Texts: Susanna Rowson, Charlotte Temple; Art Spiegelman, Maus, Vol. I; James Weldon Johnson, Autobiography of an Ex-Colored Man; Harriet Jacobs, Incidents in the Life of a Slave Girl; F. Scott Fitzgerald, The Great Gatsby; Rebecca Harding Davis, Life in the Iron Mills.
250B (Introduction to American Literature)
This class explores themes and topics in American literature in an effort to trace the evolution of a distinctly “American” form. We will look at the changing relationship between American nationalism and literature at different moments in history and culture. Weekly papers, a mid-term, and a final, as well as active, intelligent class participation. Text: McQuade, et al., eds., Harper Single-Volume American Literature, 3rd ed.
257aA (Introduction to Asian-American Literature)
In this course we will attempt to survey past and present developments in Asian American literature, including the historical relationshiop of racial, gender and sexual identity and citizenship, and the emergence of global culture. Asian immigrants and citizens have been implicated in the shifting historical debate of these concepts since the nineteenth century, and we will examine a sampling of short works, along with three novels, to get a better sense of how Asian American writers ahve addressed these questions in their own works. Course requirements include weekly short essays (2 pp.) and one longer, end-of-session paper. Texts: Okada, No-No Boy; Hagedorn, Dogeaters; Mukherjee, Jasmine; photocopied course packet available at The Ave copy center.
281bA (Intermediate Expository Writing)
This course will develop your writing skills through in-class writing, collaborative group activities, discussion, and three essay assignments. Our topic will be the movement to declare English the official language in the United States (including efforts to restrict other languages), as well as opposition to this movement. We will read a variety of writings about the Official English movement, including magazine and newspaper articles, policy statements, argumentative works by participants in the Official English debate, and academic analyses. The three essay assignments will develop your ability to write informative, argumentative and research-based writing. Text: James Crawford, ed., Language Loyalties. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
281aB (Intermediate Expository Writing)
This will be a highly concentrated month of writing in and out of class. We will focus on the mechanics of good prose (with the help of an old-fashioned rule book) and the strategies of careful argumentation (with the help of our collective good sense). Our points of departure will be some of the knottier problems of modern life drawn from the current press such as the daily New York Times. Text: The Little Brown Handbook. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
281 C (Intermediate Expository Writing)
The Rhetoric of “Civilization” 1870-1900: “Race” Presentation and the Question of Woman’s “Nature.” English 281 is designed to prepare you to meet the demands of academic writing by developing your abilities to think critically, read closely and write persuasively. However, rather than focusing on these skills in isolation, this course offers you the opportunity to consider these acts as part of the larger cultural and historical frameworks in which they are situated. By focusing on thinking, reading, and writing as social, collaborative acts, ENGL 281C invites you to consider what readers and writers, including yourself, bring to different texts. We will read and discuss a varied selection of texts—journalistic essays, short stories, novels, social criticism—in order to examine both the methods used by the writers and the audiences that these writers engage. Our materials will be drawn primarily from the turn of the 20th century, an era characterized by sweeping upheavals in American politics, society and culture. We will examine several of these moments of disjunction by exploring such issues as: racial and ethnic diversity; cultural and political imperialism; the civilized “fitness” of the New Woman. Focusing on a variety of genres and disciplines from this period will enable us to envision writing as a series of rhetorical choices specifically fashioned by the writer to communicate to a particular audience on a particular occasion. Similarly, we will re-imagine reading as an interactive process by examining how we as readers bring to each text a specific set of interpretive assumptions which limit and direct the range of meanings we actively construct from a text. Texts: Jewett, A Country Doctor; Bederman, Manliness and Civilization; Susan Harris Smith & Melanie Dawson, eds., The American 1890s: A Cultural Reader. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
283 A (Beginning Verse Writing)
This is an introductory course in the writing of poems, and as such we will strike all of these vital and most basic chords: sound, imagery, content, structure, tone, the writing process, critique and revision. We will take a quick dip into the joys of meter and rhyme, but focus primarily on the free verse poem in our workshop sessions. Come prepared to work hard; this is a joyful, furious business. Assignments will include the writing of poems and exercises, participation in group critiques, reading and discussion of poems from the texts, and a short paper. Texts: Mary Oliver, A Poetry Handbook; R. S. Gwynn, ed., Poetry: A Longman Pocket Anthology, 2nd ed.
283 B (Beginning Verse Writing)
Added 4/11; sln: 4231.
Intensive study of the ways and means of making a poem. Text: Nims & Mason, eds., Western Wind: An Introduction to Poetry.
284 A (Beginning Short Story Writing)
[Introduction to the theory and practice of writing the short story.]
284 B –cancelled 4/11—
284 C (Beginning Short Story Writing)
This is an introductory level study and practice of writing the short story. We will examine some published examples of the form from the perspective of key elements of fiction—point of view, narrative, action – and practice working with these elements via weekly writing exercises. Finally, each student will write a complete short story, workshop it in class, and write a second draft for the final portfolio. Text: Charters, The Story and Its Writer.
304aA (History of Literary Criticism & Theory II)
In this class we will consider Marxist, psychoanalytic and post-structuralist currents in contemporary literary theory. Special attention will be given to works by Jacques Derrida, Gilles Deleuze, and Giorgio Agamben. There will be a course packet in addition to the required books. Texts: Julie Rivkin, Michael Ryan, eds., Literary Theory: An Anthology; Jowett, tr., Selected Dialogues of Plato; Derrida, Dissemination; Melville, Bartleby and Benito Cereno; Gombrowicz, Cosmos and Pornografia; photocopied course packet.
310 A (The Bible as Literature)
A rapid study of readings taken from both the Old and New Testaments, focusing primarily on those parts of the Bible with the most “literary” interest—narratives, poems and philosophy. Students will be expected to attend class regularly, keep up with reading assignments, and take part in open discussion. Written work will consist entirely of a series of in-class essays, done in response to study questions handed out in advance. Text: New Oxford Annotated Bible, 3rd ed. (Coogan, ed.)
315 YA (Literary Modernism)
TTh 6:00-8:10 pm
We will read a variety of poems and fictional works from France, Germany, England, and the U.S. in order to get a sense of the complex phenomenon called “modernism.” There is no simple definition of what this term means; like other period terms in literary theory (cf. “romanticism” or “realism”), it refers not to any single quality of literary works but to a whole cluster of characteristics, any of which might be missing from any given work referred to as modernist. Thus the only way to get a sense of how the term works is to read a number of things that are labeled with it and see how they are similar and how they are different. That is what we will do. We will also read a couple of essays that will alert you to how literary critics write about modernism. I will ask you to write a couple of 2-page papers during the quarter in which you start trying to write about modernism, and then a 5-7 page paper, in which you present your mature thoughts on the topic, to conclude the term. You will be expected to attend class with strict regularity. There’s no chance of your doing well on your papers if you don’t. (Offered jointly with C LIT 396YA; Evening Degree students only, Registration Period 1.) Texts: We will read the following works in the following order: Baudelaire, poems (xerox); Eliot, Selected Poems; Rilke, poems (xerox); Kafka, “The Metamorphosis”; Mann, “Death in Venice”; Woolf, Mrs. Dalloway; Gide, The Counterfeiters.
This course is designed as an introductory but intensive study of selected Canterbury Tales (in Middle English), of current critical responses to Chaucer’s work, and of your own developing interests with regard to these texts and issues. We will work with UW librarians on introductions to research methods and UW’s collection of medieval and Renaissance manuscripts and manuscript facsimiles. This is a participatory course throughout the quarter, with daily preparation of passages, frequent short writing assignments, translation/explication exams, and final research projects. Students will have a choice of final projects: research papers, conference panels, or performance workshops. Texts: Chaucer, The Canterbury Tales: Nine Tales and the General Prologue (ed. Kolve & Olson); Peter Beidler, ed., The Wife of Bath’s Prologue and Tale; Chaucer Studio audio tape, The Wife of Bath’s Tale.
323aA (Shakespeare to 1603)
[Shakepeare’s career as dramatist before 1603, including Hamlet. Study of history plays, comedies, and tragedies.] Texts: Greenblatt, et al., eds., The Norton Shakespeare; Russ McDonald, The Bedford Companion to Shakespeare; optional: E. M. W. Tillyard, The Elizabethan World Picture.
324aA (Shakespeare after 1603)
Shakespeare’s career as dramatist before 1603 (including Hamlet). Study of history plays, comedies, and tragedies. Text: Bevington, ed., The Complete Works of Shakespeare (updated 4th ed.).
333 A (English Novel: Early & Middle 19th C.)
“And they lived happily ever after.” “They” more likely than not goot married. As a device of narrative closure marriage is ubiquitous, and to sustain interest until the happy event occurs novels often describe obstacles to nuptial bliss. In this course, we will examine the marriage plot under stress. We will read five novels that question, problematize, evade, or even thwart the marriage plot. In so doing, our goals will be three: (1) to understand the socio-historical conditioning of (what can seem) timeless, natural dynamics of love, sex, heterosexuality, and marriage; (2) to examine how diverse narrative forms differently shape the marriage plot (and other elements of narrative content); (3) to use the novelistic marriage plot as a window through which to view early and mid-nineteenth century British society. More generally, the course offers introduction to some important novels of the period, whose often bizarre storylines will hopefully provide enjoyable summer reading. Some lecture on historical context, more discussion. Requirements: take-home midterm, class presentation, final paper, active participation. Texts: Jane Austen, Pride and Prejudice; Mary Shelley, Frankenstein; Emily Brontë, Wuthering Heights; Charles Dickens, Great Expectations; Elizabeth Gaskell, Cranford; Daniel Pool, What Jane Austen Ate and Charles Dickens Knew.
334aA (English Novel: Later 19th C.)
We consider a number of classic works of British literature that broke novelistic ground in the second half of the nineteenth century: Anthony Trollope’s The Warden; Elizabeth Gaskell’s Cousin Phillis; George Moore’s Esther Waters; and R. L. Stevenson’s Dr. Jekyll and Mr. Hyde. We focus on narrative technique and other representational devices and their relation to broader social contexts, especially the making of class, gender, sexual and national identities in an increasingly mass industrial and imperial culture.
337aA (The Modern Novel)
Black, White, and Colored: Pleasantville and the Modernist Experience. This multi-media, intensive course (5 weeks, M-Th) will focus on defining literary and cultural Modernism first through the critical study of the film Pleasantville, and then via three novels alluded to in that film: D. H. Lawrence's Lady Chatterley's Lover, J. D. Salinger's The Catcher in the Rye and Harper Lee's To Kill a Mockingbird. We will read and analyze these controversial texts--each banned at one time or another since its publications--to understand how they upset the status quo, creating social anxiety and cultural crises not unlike those portrayed in Pleasantville. Course requirements include regular daily attendance; active and thoughtful discussion (active face-to-face and online discussion); online and offline research; short essays and presentations. Note: a good deal of this course will be conducted in a computer-integrated classroom, but this is not a distance-learning
352 A (American Literature: The Early Nation)
We’ll read and discuss an assortment of novels, stories, poems and memoirs by American authors in the period preceding the Civil War. Students will be expected to attend class regularly, keep up with reading assignments, and take part in open discussion. Written work will consist entirely of a series of brief in-class essays written in response to study questions handed out in advance. Texts: Baym, et al., eds., The Norton Anthology of American Literature, Vol. 1; Harriet Beecher Stowe, Uncle Tom’s Cabin; Herman Melville, Moby-Dick.
353 A (American Literature: Later 19th C.)
This class examines the literary and cultural changes that occur in post-Civil War America in order to consider what it means to be American in this era. We will look at the interaction between political, sociological, and literary narratives as constructing new definitions of personhood. Requirements include: weekly response papers, a midterm, a final, and active, intelligent class participation. Texts: Henry James, Daisy Miller; Charles Chesnutt, The House Behind the Cedars; Abraham Cahan, Yekl; Kate Chopin, The Awakening and Other Stories.
354 A (American Literature: The Early Modern Period)
American literary modernism raised enduring questions about the possibilities for securing order and meaning outside the transformations of industrial capitalism, even as its literary formalist experiments were the product of new technologies of travel, perception and communication. This course will place great emphasis on modernist experiments in form that have altered the practice and reception of all subsequent literary work, even work written in opposition to the cultural politics of high modernism. However, coming "after" modernism, we can also see in these early experiments a dance between impulses to formal order and the provocation to formal innovation presented by the boundary dissolving rhythms of markets. We will explore the possibility that the modernist enterprise can still renew our need to both embrace and fend off the vicious and productive circularity of the culture of late capitalism. Texts: Cather, My Antonia; Faulkner, Go Down Moses; Hemingway, The Sun Also Rises; Wright, Native Son; selections from the poetr of Eliot, Frost, H.D., Moore, Pound, Stevens, and Williams.
354 YA (American Literature: The Early Modern Period)
MW 6:00-8:10 pm
In this course we will read American fiction and poetry written between the world wars: an era characterized by great change and experimentation in the nation’s art and culture. Together we will examine and discuss the consequences of such destabilization as it manifests in the styles and content of some of the period’s representative works. Evening Degree students only, Registration Period 1. Texts: William Faulkner, A Light in August; Nella Larsen, Quicksand and Passing; Gertrude Stein, Three Lives; Willa Cather, My Antonia; Ernest Hemingway, The Sun Also Rises; photocopied course packet
355 A (American Literature: Contemporary America)
Contemporary American Literature (1958 to the present) is a unique area of literary study. The output and the range of innovation practiced by writers during this period is enormous. At the same time the grounds for determining what is truly masterful in this literature are unsettled; time has not yet performed its trick of securing some reputations that once seemed obscure and upending those that once seemed mighty. There is often surprisingly little overlap in the booklists for courses in this period as there is so much literature of genuine interest and so little certainty about its central figures and central works. Outside the windows of our writers, post-war American society was itself undergoing dizzying social, technical and cultural transformation. Their writing reflects this fact, and their innovations in style and language, their explorations of new themes, are accelerated by the momentum of the times. Our course will look closely at some representative work and at the complexities of the way it mirrors the society in which it was written. We will begin by reflecting on the role literature played during the prewar period, particularly as articulated in the influential work of T. S. Eliot, and we will trace the way postwar writers reinterpreted and often worked against the grain of Eliot's ideas of tradition and of the moral and artistic nature of modern writing. We will identify new ideas about the nature of knowledge, of beauty and of the relationship of literature to society that emerge in Robert Lowell's Life Studies, Saul Bellow's Seize the Day, Elizabeth Bishop's Collected Poems, Vladimir Nabokov's Lolita and Don DeLillo's Libra. Please Note: This course assumes no prior knowledge of the period and will focus on learning the skills needed to critically read and write about literature. We will use frequent short writing assignments to develop and deepen reader responses. We will closely examine specific passages to develop styles of readingi appropriate to the particular work, and we will review the contemporary social and cultural contexts in which the work was written. Short essays built on your reading, your short overnight writing assignments, class discussion and student presentations will be completed on each of the above major works.
359 A (Contemporary American Indian Literature)
Native American Literature of Resistance. Poetry and fiction by Indians whose work both resists colonization and reinvents survivance in the twentieth century. Materials by Alexie, Chrystos, Harjo, Rose, Hogan, as well as many lesser-known writers. We will work to define “resistance” and “colonization” as well as take numerous local field trips that will help us come to terms with what “being Indian” means for these authors. Assignments may include: reading assignments, class participation, in-class writing assignments (short), quizzes, midterm, and a final in-class exam. Offered jointly with AIS 377A. Texts: Harjo & Bird, eds., Reinventing the Enemy's Language; Sherman Alexie, Tonto and the Lone Ranger Fistfight in Heaven; Louise Erdrich, Tracks; Philip Red Eagle, Red Earth: Two Novellas, Geraldine Bonner (Zitkala-Sa), American Indian Stories; Leslie Marmon Silko, Storyteller; Linda Hogan, Mean Spirit; Betty Louise Bell, Faces in the Moon.
361aYA (American Political Culture: After 1865)
M-Th 6:00-8:10 pm
American literature in its political and cultural context from the Civil War to the present. Emphasizes an interdisciplinary approach to American literature, including history, politics, anthropology, and mass media. Evening Degree students only, Registration Period 1. Texts: Norris, McTeague; Butler, Dawn; Hagedorn, Dogeaters; photocopied course packet.
370 A (English Language Study)
This course is an introduction to the scientific study of language. Drawing most of the examples from English, it surveys the major concepts of phonetics/phonology, syntax, semantics, pragmatics, and sociolinguistics as they have been developed during the twentieth century. Written work will include exercises from the text, quizzes, a mid-term and a final. Texts: Pinker, The Language Instinct; Ohio State Univ., Language Files.
381 A (Advanced Expository Writing)
MW 10:50- 12:20
What makes Advanced Expository Writing advanced? Not, in this course, the length of the papers assigned, but the variety of types, audiences, and purposes of the papers. We will begin with a little theory about kinds of rhetorical purposes, understanding "rhetorical" as "attempting to increase the reader's adherence to your point of view on a matter." The assignments are designed to give practice writing papers with four different rhetorical purposes. That is, you can choose any topic for the papers, but the paper should be of the type assigned. They should be of moderate length (roughly five pages typewritten). In addition we will devote some class time to advanced points of mechanics and punctuation and the analysis of style as it functions rhetorically. There will be a final paper analyzing the style of a passage of prose which you select. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements. No texts.
381bB (Advanced Expository Writing)
This course develops your ability to write effective analytical and argumentative non-fiction prose. Our writing assignments will focus on the spread of English as an international language. How is English changing as a result of its use as a primary medium of instruction in schools and as a major language of economic and cultural life in East and Southeast Asia, sub-Saharan Africa, and elsewhere? What is the impact of new media, including the internet, upon English? As new standard varieties of English emerge, what are the consequences for written communication? As a primary resource for class discussion and writing assignments focusing on such questions, we will read Goodman and Graddol’s Redesigning English: New Texts, New Identities. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
383 A (Intermediate Verse Writing)
NOTE TIME CHANGE.
No writing class can provide the essentials (of imagination, eyes and ear, etc.), but this one will try to encourage them. What a class can provide is improved technique, but this can only be acquired by practice: one learns by doing. Therefore, there'll be a lot of writing--in the shape of specific exercises as well as original work. No heavy seriousness: light verse (which depends for its success on technical dexterity) much encouraged. Prerequisite: ENGL 283. Text: Hollander, Rhyme’s Reason.
384 A (Intermediate Short Story Writing)
NOTE DAY/TIME CHANGE from listing in printed Time Schedule.
Exercises and experiments in short fiction. Prerequisite: ENGL 284. Text: photocopied course packet.
457 A (Pacific Northwest Literature)
TWTh 11:00-12:20/ Th 3:30-5:00
Lamberton & Findlay
This course is paired with HSTAA 432 and students must sign up for both courses for a total of 10 credits. Team-taught by a professor of literature and a professor of history, the courses together examine Pacific Northwest history and literature in an interdisciplinary exploration of regional identity. Ranging from the stories of Native Americans and accounts of early explorers through the environmentalist literature of the 1990s, among other things, we will consider as texts such historical documents as fur traders’ reports, Indian treaties, pioneer narratives, and railroad promotions, and evaluate historical novels, short stories, memoirs, and poems for what they reveal and mask about the regional past. Also included will be conversations with prominent regional authors. James Welch, Ivan Doig, Mary Clearman Blew, Tess Gallagher, David Wagoner, and David James Duncan have agreed to visit the class, talk about their fiction, poetry, and memoirs with students, and participate in discussions about writing, identity, and history in the Pacific Northwest. The six authors will also give readings from their works to the wider community. Additional guest speakers will be scheduled. These courses have been designed as an intensive workshop with substantial reading, but there are no prerequisites. Current and prospective teachers are particularly invited to enroll. N.B.: Students must take both ENGL 457 and HSTAA 432. A student enrolling for HSTAA 432 will automatically be enrolled in ENGL 457. You may not enroll for ENGL 457 alone. For further information, please contact History Undergraduate Advising (SMI 318, email@example.com, 206-543-5691).
471aA (The Composition Process)
This course is an introduction to the theory and practice of teaching writing, focused on practices in high school and middle school. We’ll start with an examination of “best practices” in teaching writing, with most of our attention on process approaches. Because you may not have experienced for yourself many of these practices, we will enact them as we read. Then we’ll turn to what teachers are actually doing, especially with diverse student populations found in almost every school district in the Puget Sound area. We’ll take that a step further with a group project designing unit plans based on the group’s research into a particular school and school district’s student population. In the final section, we’ll take up the issues of assessment of writing, especially as they are relevant to teachers in Washington. At the same time we consider barrier assessments (in 2008, all students must pass the WASL to receive a certificate of mastery), we’ll also examine the assessments specific students will face in the move to college – what “writing” tests do community college students take? How relevant are the AP English tests to what colleges expect? What kind of writing do students do in first year composition? You’ll be writing response papers to the reading every other day, produce a group project on writing curriculum, and write a final empirical paper on some aspect of writing or writing instruction. Because this is a summer session course in the A term, if you have plans for a vacation, family events, or work interferes during the A term, you should take the course in another quarter. Every day you miss is the equivalent of two days of class time and a week in the regular quarter. Text: photocopied course packet. Students not previously enrolled at the University of Washington (non-matriculated status) may sign up for this course if they meet the posted ESL requirements.
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
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).
496 A (Major Conference for Honors)
Individual study (reading, papers) by arrangement with the instructor. Required of, and limited to, honors seniors in English. Instructor codes, further information available in Undergraduate Advising Office (A-2B Padelford;  543-2634).
497/8aA (Honors Senior Seminar/Senior Seminar)
NOTE DAY/TERM CHANGE from listing in printed Time Schedule.
Racialized Masculinities in American History, Literature and Film. Beginning with Edgar Rice Burrough’s 1914 novel, Tarzan of the Apes, this course examines the manner in which conceptions of masculinity and manhood are contingent upon racialized conceptions of identity. Given that “masculinity” and “manhood” are often used to denote character traits desirable in all men, but more specifically envisioned as possessed only by white men, this course focuses its attention upon multicultural perspectives of masculinity. In this class, we will examine historical, literary, and filmic representations of four distinct groups (African Americans, Asian Americans, Native Americans, and Mexican Americans) in order to more fully understand the manner in which masculinity is dependent upon discourses of race. Students will be required to actively participate in our class discussions. Course requirements include four response papers, 8-10 page final paper, active participation, and a class presentation. In addition to the required texts, there will be a short course reader. Texts: Shawn Wong, American Knees; Ernest J. Gaines, A Lesson Before Dying; David Walker, Walker’s Appeal; William Andrews, ed., Three Classic African-American Novels; Edgar Rice Burroughs, Tarzan of the Apes; Americo Paredes, With His Pistol in His Hand; John Okada, No-No Boy.
497/8aB (Honors Senior Seminar/Senior Seminar)
Ravishing Reads--"Difficult Pleasures" and Reading Practices in Our Time.
"We read deeply for varied reasons, most of them familiar: that we cannot know enough people profoundly enough; that we need to know ourselves better; that we require knowledge, not just of self and others, but of the way things are. Yet the strongest, most authentic motive for deep reading of the now much-abused traditional canon is the search for a difficult pleasure." --Harold Bloom, How to Read and WhyIn this intensive 5-week, multimedia course, we will investigate what it means to read traditional--and nontraditional--texts in the 21st century to experience "difficult pleasure." Some of what we read will be offline, but much will be online, and our uses of technology to read poetry, fiction, and drama might seem to enhance and detract from conventional reading pleasures. We will, for example, listen almost as much as we look at texts, just as we will test a variety of reading theories against assorted reading practices, some isolated and others communal. In essence ours is a class that will critique and test ways of reading and textual engagement in the 21st century--intellectual, imaginative, sensual. Course methods include reading and discussing reading practices critically, as well as conducting primary and secondary research about reading practices, both online and off, together as a class and individually in non-classroom locales. You will also be writing online journals. Class attendance is a must; this is not a distance-learning course, despite its in-class experimentation with computer technology. Texts: David Galef, ed., Second Thoughts: A Focus on Rereading; Sven Birkerts, The Gutenberg Elegies: The Fate of Reading in an Electronic Age.
497/8bC (Honors Senior Seminar/Senior Seminar)
The Sublime Experience: Subject and Perceiver. The sublime is an important touchstone concept for understanding changes in emotional and artistic sensibility which were taking place at the end of the eighteenth century in England, and for providing context for the reactions in the century that followed. In this course, we will begin with a philosophical examination of the sublime in the works of Kant and Burke, but we will quickly move on to artistic representations of the sublime in visual art, poetry and prose. As we move through the nineteenth century, our central questions will be, what place does the sublime have in conventional, respectable Victorian society? And what happens when the sublime, usually manifested by scenes of nature, is instead manifested in a human being? Through this examination of the sublime, we will address such issues as gender differences, religion, and social relations in a developing industrial/capitalist society. 497: Honors Senior Majors only; add codes in A-2-B PDL (English Advising); 498: Senior Majors only. Texts: Thomas Carlyle, Sartor Resartus; Emily Brontë, Wuthering Heights; Joseph Conrad, Heart of Darkness; Mary Shelley, Frankenstein.
499 A (Independent Study)
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)
Add codes are required for all graduate courses, and may be obtained in the English Graduate office, A-105 Padelford, (206) 543-2634.
586A (Graduate Writing Conference)
590A (MA Essay)
Research and writing project under the close supervision of a faculty member expert in the field of study, and with the consultation of a second faculty reader. The field of study is chosen by the student. Work is independent and varies. The model is an article in a scholarly journal. Prerequisite: graduate standing in English. Add codes available in English Graduate office, A-105 Padelford (543-6077).
591A (MAT Essay)
Research and writing project under the close supervision of a faculty member expert in the field of study chosen by the student within the MAT degree orientation towards the teaching of English, and with the consultation of a second faculty reader. The model is an article in a scholarly journal. Add codes available in English Graduate office, A-105 Padelford (543-6077).
597A (Directed Readings)
Intensive reading in literature or criticism, directed by members of doctoral supervisory committee. Credit/no credit only. Add codes available in English Graduate office, A-105 Padelford (543-6077).
600A (Independent Study/Research)
Add codes available in English Graduate office, A-105 Padelford (543-6077).
Credit/no credit only. Add codes available in English Graduate office, A-105 Padelford (543-6077).
700A (Masters Thesis)
Add codes available in English Graduate office, A-105 Padelford (543-6077).
800A (Doctoral Dissertation)
Add codes available in English Graduate office, A-105 Padelford (543-6077).