(Descriptions last updated 12 June 2003)
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.
English classes, 300-level and above, require instructor permission for registration during Registration Period 3 (beginning the first day of classes). If students have not registered for a class prior to the first day, they should attend the first class meeting and/or contact the instructor to obtain the necessary add codes. Some creative writing classes require add codes for registration: see below, or contact the Creative Writing office, B-25 Padelford, (206) 543-9865.
Admission to 400-level creative writing classes is by instructor permission only. To obtain add codes, students will be asked to fill out a brief questionnaire, provide an unofficial copy of their UW transcripts, and submit a writing sample. The questionnaire contains more specific information, and can be obtained at either the Creative Writing office (B-25 Padelford, open 11-3 daily, (206) 543-9865) or the English Advising office (A-2-B Padelford).
ENGL 497 (Honors Senior Seminar) and ENGL 498 (Senior Seminar) are joint-listed courses; students choose which number to sign up for depending on their individual status. ENGL 497 is restricted to senior honors English majors taking the additional senior seminar required for the departmental honors program. Add codes for ENGL 497 are available in the English Advising office, A-2B Padelford. All other senior English majors should sign up for ENGL 498. Neither ENGL 497 nor ENGL 498 can be taken more than once for credit.
Because of heavy demand for many English classes, students who do not attend all regularly-scheduled meetings during the first week of the quarter may be dropped from their classes by the department. If students are unable to attend at any point during the first week, they should contact their instructors ahead of time. The Department requests that instructors make reasonable accommodations for students with legitimate reasons for being absent; HOWEVER, THE FINAL DECISION RESTS WITH THE INSTRUCTOR AND SPACE IS NOT GUARANTEED FOR ABSENT STUDENTS EVEN IF THEY CONTACT THE INSTRUCTOR IN ADVANCE. (Instructors' phone numbers and e-mail addresses can be obtained by calling the Main English Office, (206) 543-2690 or the Undergraduate Advising Office, (206) 543-2634. Mailto e-mail links are also included in the descriptions on this page.)
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 (237 on the computer-based 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, firstname.lastname@example.org.
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: TTh 9:40-11:40; 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.
131 (Composition: Exposition)
6 sections: M-Th 8:30; M-Th 9:40; M-Th 10:50; M-Th 12:00; MW 1:10-3:10
[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.
200aA (Reading Literature)
Literature of the Harlem Renaissance. Focusing on the writers of the Harlem Renaissance, students will learn how to develop complex interpretations of literary texts, interpretations that address the work’s language and form as well as the context surround its production. ENGL 200 is computer-integrated; students will use the computer as a communication and textual study tool. However, technical savvy is not a course prerequisite. Students will receive instruction in all technical tools used in the classroom. Course web site: http://faculty.washington.edu/kgb/harlem/ Texts: Zora Neale Hurston, Their Eyes Were Watching God; Nella Larsen, Quicksand; David Levering Lewis, ed., The Portable Harlem Renaissance Reader; CIC Student Guide; photocopied course packet.
200aB (Reading Literature)
We will read works from a variety of genres to develop interpretive skills based on a close attention to textual detail and an appreciation of context. Critical thinking and analytical writing are the means and end of the course. Participation, presentations, and writing are required. Texts: Joseph Conrad, Heart of Darkness; Muller, Ways In; Zadie Smith, White Teeth; Shakespeare, Othello; Melville, Melville’s Short Novels.
200 C (Reading Literature)
Exile and Wandering. In this class we’ll read three wildly different novels that have in common an interest in the experience of exile – political, social and/or moral exile from one’s community and the wandering, physical or spiritual, that results. As we do so we’ll ask some basic questions about how literature works and adopt some tools that have been developed over the centuries for answering those questions. The purpose of the class is to introduce the study of literature as an academic discipline. We’ll consider formal elements, social and historical context and the way that literature speaks to us as individuals and as members of society. Participation is key to the success of this class: be prepared to discuss every day, or don’t take the class. Three papers are also required, with optional revisions. Texts: Hoban, Riddley Walker; Silko, Ceremony; Galeano, The Book of Embraces.
200 D (Reading Literature)
Writing and Reading Alternate Worlds. On a general level, all literature involves an alternative to lived reality – this is a powerful motive for writing and reading literature. This course seeks to ask: what might drive a writer to construct an especially radical fictionality, an entirely alternate world? This course will explore several texts, from the Renaissance to the contemporary, to try to find possible ways of reading these different (and yet still familiar) worlds. By analyzing different genres – drama, novel, memoir, film – we will attempt to formulate motivations (political, social, psychological, gender) for creating, and reading, such challenging texts. (Additional to the list below, we will look at a selection of surrealist films by Luis Bunuel and Jean Cocteau.) For course syllabus, see http://faculty.washington.edu/msb27/200D_Admin.html Texts: Margaret Cavendish, The Blazing World and Other Writings; Shakespeare, The Tempest; Samuel Johnson, The History of Rasselas, Prince of Abissinia; Virginia Woolf, Orlando: A Biography; Peter Carey, The Unusual Life of Tristan Smith.
207 A (Introduction to Cultural Studies)
Added 15 April; sln: 4405
Technology and Culture. How are our lives affected by technology? How many facets of our existence are dependent upon machines, often machines that are beyond our comprehension? How does technology affect culture, and how does culture determine technology? The food we eat, the clothes we wear, the cars we drive, the computers we use every day, all rely upon complicated machinery and technological sophistication unthinkable even decades ago. Yet they become the background to our quotidian lives, and their impact from and upon culture becomes almost invisible. This course foregrounds the roles of technology and machinery in society, highlighting our prevalent attitudes and anxieties by looking at a variety of cultural artifacts across various media. In doing so, we will simultaneously explore the concept of “cultural studies”: what it means, what it shares with other critical paradigms or disciplines, and how it differs. The course is divided into three roughly equal thematic sections that look successively at texts that take a positive, negative, or integrative stance toward technology, demonstrating overlapping attitudes that exist across lines of era, class and ideology. In addition to texts such as Aldous Huxley’s Brave New World and White Noise, students will be asked to watch several films including Charlie Chaplin’s Modern Times, Dziga Vertov’s Man with a Movie Camera, Francis Ford Coppola’s Tucker, and performance art works by Survival Research Laboratories and Orlan, among others. Assignments will include response papers, two exams, and a final essay.
212 A (Literature of Enlightenment & Revolution)
This course will present five English novels in the context of important themes in 18th- and 19th-century cultural, intellectual, and political history: Defoe, Moll Flanders (realism and the novel, middle class, Puritanism, didacticism); Sterne, Tristram Shandy (Enlightenment, rationalism, empiricism, sentimentalism); Mary Shelley, Frankenstein (Romanticism, science, gender – the “women question”); Dickens, Tale of Two Cities (historical fiction, revolution, class); Wilde, The Picture of Dorian Gray (aestheticism, “the modern,” sexuality, morality). Grading will be based on participation, reading quizzes, four short essays, in-class midterm and final exams, and a final 6- to 10-page essay.
213 A (Modern & Postmodern Literature)
The 20th Century From the Margins. We will think about the questions “What is Modernism?”, “What is Postmodernism?”, “What comes after Postmodernism?”, and “Why do these categories matter?” from the position of authors writing from a marginal relation to the mainstream of literature. This means that, in addition to a couple of the more commonly read 20th-century texts, we will primarily read poetry and fiction written by women, writers of color, sexual minorities, postcolonial writers, and some who are all of these. Class time will be focused on gaining historical context, critical reading strategies, a basic introduction to literary theory, and entertaining themes of common interest to class members. Authors we read may include Hughes, Brooks, Eliot, Stein, Woolf, H.D., Isherwood, Ellison, Cha, Horrocks, Russ, Morrison. Assignments will include weekly response papers/discussion questions, a creative piece and presentation, a mid-term and a (multi-draft) essay. Daily participation in class is essential. Texts: Ralph Ellison, Invisible Man; Gwendolyn Brooks, Maud Martha; Dylan Horrocks, Hicksville; Langston Hughes, Collected Poems; Virginia Woolf, To the Lighthouse; Teresa Hak Kyung Cha, Dictee; Toni Morrison, The Bluest Eye; Gertrude Stein, Tender Buttons; Christopher Isherwood, The Berlin Stories; Joanna Russ, The Female Man.
213 B (Modern & Postmodern Literature)
[Introduction to twentieth-century literature from a broadly cultural point of view, focusing on representative works that illustrate literary and intellectual developments since 1900.] Texts: Virginia Woolf, Mrs. Dalloway; Aldous Huxley, Brave New World; N. Scott Momaday, House Made of Dawn; Tim O'Brien, The Things They Carried; Paul Auster, The New York Trilogy: City of Glass; Ghosts; The Locked Room; Ruth Ozeki, My Year of Meats.
225 A (Shakespeare)
In this course we will examine Shakespeare’s career as a dramatist; importantly this means that in addition to learning how to be astute readers of Shakespeare, we will be focusing on his works as performance texts intended for actors and a stage. We will address the plays not as classics to be revered, but as scripts to be performed. Students will be required to perform in class – in order to do well in this class you must be willing to participate fully and enthusiastically (participation is required, acting talent is not). Students will write papers weekly, there will be both a mid-term and a final, and there will be both individual and group presentations/performances. Though this will be quite a demanding course, I also believe it will be a highly enjoyable one. Texts: Shakespeare, A Midsummer Night’s Dream; The Tempest; Titus Andronicus; Hamlet; photocopied course packet.
229 A (English Literary Culture: 1600-1800)
Critics and historians of British literature from 1600 through 1800 have broken this 200-year period into at least six different “ages”: the Jacobean Age, the Caroline Age, the Commonwealth, the Restoration Age, the Augustan Age, and the Age of [Samuel] Johnson. In our coverage of this literature written over the span of these years, we will read two playwrights, three poets, and four novelists, and, dispersed among them weekly, brief excerpts from several essayists. In doing so, we will, at least in some way, “cover the ground” in each of these “ages.” My goal is that we will conclude the quarter with a greater appreciation for and understanding of the diverse and rich literature written during these years of political and cultural change and upheaval – change and upheaval that continue to resonate with us today. Texts: Christopher Marlowe, Edward II; Aphra Behn, The Rover; John Donne, John Donne [Poetry]; John Milton, John Milton [Poetry]; Alexander Pope, Alexander Pope [Poetry]; Mary Wollstonecraft, Vindications: The Rights of Men and the Rights of Women; Eliza Haywood, Love in Excess: Or, the Fatal Enquiry; Horace Walpole, The Castle of Otranto; William Beckford, Vathek: With the Episode of Vather; Jane Austen, Northanger Abbey.
242aA (Reading Fiction)
Reading Jane Eyre. Ever since Charlotte Brontë first published Jane Eyre in 1857, artists and authors have been “reading” her novel through their own poetry, fiction, films, plays, illustrations, and literary criticism. In this course students will engage with a number of these readings – as well as their own reading of Jane Eyre – as we investigate what it means to “read fiction.” As this is a “W” course, students will also consider the role writing plays in their reading practices. Coursework will include daily reading and writing assignments, class presentations, short paper, midterm, and final. Texts: Jasper Fforde, The Eyre Affair; Charlotte Bronte, Jane Eyre; Jean Rhys, Wide Sargasso Sea; photocopied course packet.
242 B (Reading Fiction)
American Fictions. In this class we will both read American fiction and examine the fictions (and/or realities) of the term American. Specifically, we will read mostly 20th-century American fiction (with a short foray into the 19th century) and deal with questions of American identity – what is the “American,” and is the “American” different from the “American citizen?” How do issues relating to land/place, class, race, and gender affect our definitions and understandings of “Americanness?” On another level, we will not only read and respond to texts, but will also try to learn something about how we do so. To this end we will read about different approaches to literature, and students will be asked to both define and expand their reading practices. Texts: Baym, ed., Norton Anthology of American Literature, Vol. E; Mark Twain, Pudd’nhead Wilson; Harper Lee, To Kill a Mockingbird; Gish Jen, Typical American; Bresslee, ed., Literary Criticism.
250 A (Introduction to American Literature)
American Natures. American has been described as “nature’s
nation,” a country in which national character, and, importantly,
for our purposes, national literature, are shaped by natural
landscape. From William Bradford’s “hideous and desolate
wilderness,” to Henry David Thoreau’s pastoral Walden Pond,
from Katherine Lee Bates’ “purple mountain majesties,” to Don
DeLillo’s toxic sunsets, American literature teems with nature imagery,
providing ample opportunity for a study of literature and environment
in the U.S. context. This course will be a variation on this
theme. Though we will read a few of the standard texts of
American nature writing, our primary concern will be to trace the
uses to which “nature” is put, both in figuring the natural world,
and in understanding the “nature” of Americans. Considering
“nature” as a concept that not only refers to the nonhman landscape,
but also opposes culture, nurture, and artifice, we will ask: What
is considered “natural” and what “unnatural” for Americans?
Does this change based on categories of race, gender, class, or sexuality?
How is nature used as a political category? Who is described
as “closer to nature,” who “against nature,” and who simply “of a different
nature”? And how does the way in which external, nonhuman “nature”
is represented reflect and influence the ways in which “human nature”
is described in America? Texts: Mark Twain, Pudd’nhead
Wilson; Jack London, The Call of the Wild; Nella Larsen,
Quicksand & Passing; Ruth Ozeki, My Year of
250 B (Introduction to American Literature)
This course examines the trope of American belonging in select works of literature. Most works will address themes of race and gender. We will begin with works from authors of the early antebellum period, including pieces by Jefferson and Crevecoeur, and David Walker's Appeal. Then we jump ahead to the turn of the 20th century and engage with questions of race and nation. Works will include Mark Twain, Pudd'nhead Wilson; short pieces by Jack London; and Sui Sin Far, Mrs. Spring Fragrance. Next we will examine racial themes in two modernist novels: Nella Larsen, Passing; and Younghill Kang, East Goes West. Then we will explore literary engagements with alienation in Asian America in the post-World War II years with Hisaye Yamamoto, Seventeen Syllables and Other Stories; Peter Bacho, Dark Blue Suit; and Fae Myenne Ng, Bone. The course concludes with three recent works of various genres: Stephen Sondheim's musical drama Assassins; Chuck Palahniuk's satirical novel Survivor; and Leonard Chang's mystery novel Over the Shoulder. The course will be conducted with discussions and class presentations. Students will have the opportunity to lead class discussion. Please note: Students are responsible for reading all assigned works. Some texts have explicit language, mature subjects, and potentially “unpatriotic” themes. Students who are not prepared to engage with all materials will have difficulty with the course itself and may prefer not to enroll in this section. In addition to the heavy reading load, course requirements include but are not limited to outside research for class presentations of critical commentary, a summary of this research, several short response papers (2 pages), one longer term paper (8 pages), and a final essay exam. Grades will be based on class participation and quality of written assignments. Texts: Twain, Pudd’nhead Wilson; Kang, East Goes West; Yamamoto, Seventeen Syllables & Other Stories; Ng, Bone; Sondheim, Assassins; Palahniuk, Survivor; Far, Mrs. Spring Fragrance & Other Writings; Larsen, Quicksand and Passing; Walker, Walker’s Appeal and Garnet’s Address.
281aA (Intermediate Expository Writing)
Liars, Scoundrels, Wicked People and Good Prose. A Presidential script writer tells us that George W. Bush added “Evil” to the famous “axis” speech in the place of a more neutral albeit negative term. The word simply will not stay put in Medieval allegories or Puritanical harangues. We might as well polish up our understanding of bad behavior while we sharpen our writing skills. I’m thinking about pens and swords, and we will focus our pen-play around several black-and-white movies (with few shades of gray) and essays on related topics. Writing will take the form of weekly essays and revisions done at home and workshop writing and critical reading in the classroom. Bring pen, pencil and paper. And be good. Text: photocopied course packet. No auditors. 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.
281bB (Intermediate Expository Writing)
[Writing papers communicating information and opinion to develop accurate, competent, and effective expression.] Text: James Crawford, ed., Language Loyalties: A Source Book on the Official English Controversy. No auditors. 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)
Writing for the Web. How to write informative and persuasive web pages. Lecture-presentation format plus lab applications. Always meets in lab. Familiarity with Windows environment and Uniform Access (“Dante”) accounts (Unix environment) is recommended preparation for course. Assignments will include creation of group and individual web sites. Additional information and mini-tour on http://courses.washington.edu/hypertxt/engl281. No auditors. Texts: Musciano & Kennedy, HTML and XHTML: The Definitive Guide, 5th ed.; Lynch and Horton, Web Style Guide, 2nd ed. No auditors. 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 D (Intermediate Expository Writing)
A sports writer from the 1950s once said: “I hate writing. I love having written.” This sentiment is often shared by student writers who are navigating different kinds of writing in academia. Why do we write in the first place—what effects do written texts have in the world of the academy, the professions, and our personal/cultural lives? This course will investigate forms of writing and the implications behind them. We will look at the disciplinary expectations that your particular career path demands and how to make your writing matter. We’ll explore practices of rhetoric itself and how to make meaning with words. You will write in multiple genres (electronic discussion, summaries, parodies, argumentative essays, etc.) and often reflect on the consequences of these particular conventions. There will be a number of short assignments in addition to two longer papers and a collaborative assignment. No auditors. 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.
283 A (Beginning Verse Writing)
This course will take as its guiding principle what poet Richard Kenney calls “rigorous insouciance” – that is, the demand that we work hard at playing. Primary to our success will be a common delight in the English language at its most essential level, that of sound and rhythm, a quality Ezra Pound called “melopoeia.” To open out the focus, we’ll look at the other –poeias: phanopoeia (the effect of images upon the imagination) and logopoeia (the effect of intellect). Still, we’ll always come back to the base-line pleasures of sound. Students will contribute one poem a week – some as free-writes, some as responses to assignments. Since this is a workshop course, we’ll devise good methods and manners for “workshopping” student poems. Some memorization will be required, and students will keep daily logs having nothing at all to do with Deep Thoughts and everything to do with Surface Observations. Short presentations will be scheduled based on readings from a course packet prepared by the instructor. Please come to the first class with two poems: one of your own, and one not your own but well-loved. Extra points if the latter employs formal tools like rhyme, meter, and form, and even more points if you have that poem memorized and ready to share with the rest of us. No auditors. Texts: Seamus Heaney & Ted Hughes, Rattle Bag; photocopied course packet.
284 A (Beginning Short Story Writing)
Reading and writing short stories, with emphasis on short exercises. No auditors. Text: photocopied course packet.
284aB (Beginning Short Story Writing)
Introduction to the theory and practice of writing the short story. No auditors. Text: Tom Bailey, A Short Story Writer's Companion.
284 C (Beginning Short Story Writing)
This course introduces and provides practice in the elements of short literary fiction, including (but not limited to) imagery, characterization, setting, plot, etc. In-class assignments will consist of the discussion of contemporary short stories in terms of craft, short writing exercises, and workshopping of student pieces. No auditors. Text: photocopied course packet.
310 A (The Bible as Literature)
A rapid study of readings 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: Coogan, ed., New Oxford Annotated Bible, 3rd ed.
315aTS/U (Literary Modernism)
M-Th 6:00-8:10 pm
[Various modern authors, from Wordsworth to the present, in relation to such major thinkers as Kant, Hegel, Darwin, Marx, Nietzsche, Bergson, and Wittgenstein, who have helped create the context and the content of modern literature. Recommended: ENGL 230 or one 300-level course in 19th or 20th century literature.] Meets w. C LIT 396TS/U. Texts: Eliot, Selected Poems; Kafka, Metamorphosis; Mann, Death in Venice; Woolf, Mrs. Dalloway; Gide, The Counterfeiters. (NOTE: ENGL 315 TS is available only to Evening Degree and non-matriculated students; for information contact UW Educational Outreach, (206) 543-2320. ENGL 315 U represents spaces in this class that may be available for regularly-enrolled UW day students during Registration Period 3, the first week of classes; add codes will be required for 315U, available from the instructor.)
[Chaucer's Canterbury Tales and other poetry, with attention to Chaucer's social, historical, and intellectual milieu.] Texts: Chaucer, The Riverside Chaucer (ed. Benson); Boitani & Maum, eds., The Cambridge Chaucer Companion; Andreas Capellanus, The Art of Courtly Love; Meisel & Del Mastro, tr., The Rule of St. Benedict.
323bA (Shakespeare to 1600)
Shakespeare's career as dramatist before 1603 (including Hamlet). Study of history plays, comedies, and tragedies.
Text: Bevington, ed., The Complete Works of Shakespeare.
324 U (Shakespeare after 1600)
MW 6:00-8:10 pm
While not all of the plays we'll be considering in this class fall after the death of Elizabeth, they are close enough in time and theme to qualify as "mature" Shakespeare. This summer we will be examining the nature of this maturity, questioning the dramatist's obsession with human frailty, and its capacity to deceive itself in matters of love, sex, marriage, war, old age and death. Course requirements include a willingness to participate in class discussion, one longish paper and an exam. Texts: Shakespeare, Hamlet, Troilus and Cressida, Measure for Measure, King Lear, The Tempest, Antony and Cleopatra.
335aA (English Literature: The Age of Victoria)
What, apart from size, distinguishes England in the 19th century from the United States in the 20th and 21st? (Britain, though a tiny island, commanded a much grander imperial span.) A military and industrial superpower is vulnerable, precisely because of its prominence, to certain penalties at home and abroad. Afghanistan presented a particular problem in both cases. Military power includes its own risks; so does industrial power. Pollution and poverty seemed to be the natural companions of production and prosperity. I could go on and will, indeed, do so this summer when we subject major texts written (drawn and constructed – insofar as we will include painting and architecture) in Victorian England to critical study. Comparisons of the kind implied by this paragraph will emerge from short lectures and longer discussions, frequent short essays and one term paper. Apart from the two novels listed below, all readings – mostly essays and poetry - - will be included in a course packet. Texts: Charles Dickens, Hard Times; Thomas Hardy, Tess of the D’Urbervilles; photocopied course packet.
337aA (The Modern Novel)
Black, White, and Colored – Pleasantville and the Modernist Experience. This multi-media, intensive course (5 weeks) will focus on defining literary and cultural Modernism, first through the critical study of the film Pleasantville, and then through three novels alluded to in that film: D. H. Lawrence’s Lady Chatterley’s Lover (1928), J. D. Salinger’s The Catcher in the Rye (1951), and Harper Lee’s To Kill a Mockingbird (1960). We will analyze what is “modern” about the themes and formats of each text, but just as well we will consider why each was not – and is not – always openly embraced by a variety of viewing and reading audiences. Specifically, we will pose these questions: (1) Why did the novels so shock their contemporary readers and continue to upset others as time went by? (2) What did their receptions have to do with the cultural anxieties portrayed in the film Pleasantville? (3) Do these same anxieties continue in “Postmodern” society? Course requirements include a sincere interest in exploring these questions via primary reading and secondary research, daily and engaged course attendance (this is an 8:30 a.m. class), discussion, individual and group reports, and a final examination. Texts: R. B. Kershner, The Twentieth-Century Novel: An Introduction; Lawrence, Lady Chatterley’s Lover; Salinger, The Catcher in the Rye; Lee, To Kill A Mockingbird.
345aA (Studies in Film)
This course examines the work of female directors from the silent to the contemporary era, concentrating on the work of filmmakers from the U.S., Germany, and France. Throughout the quarter, we will address the following questions: What, if anything, unites the work of women directors? Are there particular stylistic or narrative strategies that characterize films directed by women? How does an investigation of women directors change our conception of film history? How does feminist film criticism help us to interpret films made by women? What challenges do particular directors pose to critics? How do historical, cultural, and industrial factors shape the work of women directors? As we explore these questions, we will discuss films made both within and outside the mainstream film industry. We will also hone our critical skills by analyzing how directors structure their films’ narrative and visual styles. Course web site: http://faculty.washington.edu/kgb/345/ Texts: Louis Giannetti, Understanding Movies, 9th ed.; photocopied course packet.
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, ed. The Norton Anthology of American Literature, Vol. B, 6th ed.; Stowe, Uncle Tom’s Cabin; Melville, Moby-Dick.
353aA (American Literature: Later 19th Century)
Moving Up, Moving Away: Late 19th-Century American Literature. After the Civil War, America was transformed from a rural agrarian society to an urban industrial society. Immigration from Europe and Asia paralleled the migration of American from East to West and South to North. Geographical transformation produced profound social changes, as people attempted to find success, construct new identities, and build new homes. American literature too changed profoundly from one that sought to question ultimate truths to one that attempted to represent these new realities. The literature of this period chronicles these changes, but it also attempts to help shape the identity of the emergent nation. We will look at a number of different writers who saw in this transformation the successes and failures of American culture. What unites them is their belief that literature itself might be a means to success. Class requirements will include several short essays and participation. Texts: Abraham Cahan, Yekl; Mark Twain, Pudd’nhead Wilson; Horatio Alger, Jr., Ragged Dick & Struggling Upward; Pauline E. Hopkins, The Magazine Novels of Pauline Hopkins: Including Hagar’s Daughter, Winona, and Of One Blood; Charles Chesnutt, Tales of Confure and the Color Line: 10 Stories.
354aA (American Literature: The Early Modern Period)
Reconstruction, Immigration and World War I will organize our considerations in this course. Issues that will, no doubt, emerge from these themes might include: the implications of the failed integration of African Americans into modern mainstream US society; the role of art and the artist in realizing social change; the effects of urbanization and technological innovations on concepts of culture and language; the impact of waves of unprecedented immigration on the definition of modern American identity; the emergence of an era of US imperialism, and the onset and aftermath of US entry into World War I. We will begin each of the three sections of the course by reading and discussing a number of shorter works, which will allow us to establish a cultural context for our discussions of the three main texts: Autobiography of an Ex-Coloured Man, My Antonia, and 1919. These texts will be supplemented by a course packet as well. Students are expected to attend every class, to participate in daily discussion and occasional writing exercises, and to complete three short papers. Texts: Cather, My Antonia; Johnson, Autobiography of an Ex-Coloured Man; Dos Passos, 1919; photocopied course packet.
355aA (American Literature: Contemporary America)
Living on the Edge. This course will examine representations of international, domestic, and personal crisis in recent U.S. novels, short stories, nonfictional documents, film and popular media. We’ll begin with the cold ar emergence of the “national security state” and widespread policing of political and sexual dissidents. We’ll turn to the hot war in VietNam and draw connections between it and contemporary events. We’ll end with portraits of Americans whose life experiences, behavior or identity is at odds with the mainstream. Residing in locales where conformity to church dogma, middle-class standards, traditional family values, established gender roles, and/or sexual norms is strictly enforced, all defy convention. And all live on the edge.
Texts: Don Delillo, Mao II;
Senna, Danzi, Caucasia; Ehrenreich, Barbara, Nickle
and Dimed; photocopied course packet.
368aA (Women Writers)
Out West, Down Under, Into the Wild: Feminist Narratives from Print to Screen.
The textual focus of this course is on dislocated girls and women who venture
into some kind of wilderness, physical and psychological; as well, it’s a
course that explores the connections between those wild locales and the female
adventurers who, in conventional society’s terms, transgress them; finally,
it’s a course that questions why these so-called “wild” girls and women get
under- or overexposed in the translation of printed text to screen and how
readers like you might critically read fiction and film as a clarifying lens
of conventional cultural and gender norms – even if other people sitting next
to you in bookstores and theaters won’t. All of the texts feature girls and
women, some Australian and others American. Some of the texts are penned
or directed by men. Some are adaptations of stories and novels, some
screenplays only. Each was more or less popular in print than on screen.
A couple were blockbusters turned cult classics, while others might be destined
for the used-rental bargain bin. Over the course of five weeks, we’ll
explore why. Other requirements include keeping up with the reading
of written and filmed texts, daily class attendance and engaged discussion,
short oral reports and response papers, and a final examination. Texts:
Sidonie Smith, Moving Lives: 20th-Century Women’s Travel Writing;
Joan Lindsay, Picnic at Hanging Rock; Peter Weir dir, Picnic at
Hanging Rock; Doris Pilkington, Rabbit-Proof Fence; Phillip Noyce,
dir., Christine Olson, screenplay, Rabbit-Proof Fence; Robyn Davidson,
Tracks; Maggie Greenwald, The Ballad of Little Jo (written
& directed by Greenwald); Callie Khouri, Thelma and Louise,
dir. Ridley Scott; Patrick Stettner (writer & dir.), The Business
370bA (English Language Study)
[Wide-range introduction to the study of written and spoken English. The nature of language; ways of describing language; the use of language study as an approach to English literature and the teaching of English.] Text: Virginia P. Clark, Paul A. Eschholtz, & Alfred F. Rosa, eds., Language: Readings in Language and Culture (6th edition).
381 A (Advanced Expository Writing)
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. Text: Bryn Garner, Oxford Dictionary of American Usage and Style. No auditors. 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.
381bB (Advanced Expository Writing)
This is an advanced writing course that will provide experienced writers with an opportunity to engage questions of language, style, audience, context, purpose, and rhetorical strategies. We’ll look at examples in which discussions of language and its implications are foregrounded as a means to discussing linguistic and rhetorical choices we make in our own writing. Course work will involve stylistic and formal analysis of readings, a lot of writing, workshop-style editing and revision, and some analysis and practice at the level of the sentence and paragraph. Texts: Joseph M. Williams, Style: Ten Lessons in Clarity and Grace; Stephen Greenblatt, Marvelous Possessions: The Wonder of the New World; Sandra Silberstein, War of Words: Language, Politics, and 9/11; photocopied course packet. No auditors. 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)
[Intensive study of the ways and means of making a poem. Further development of fundamental skills. Emphasis on revision. Prerequisite: ENGL 283.] No auditors.
384 A (Intermediate Short Story Writing)
Reading and writing short stories, with emphasis on short exercises. No auditors. Prerequisite: ENGL 284. Text: photocopied course packet.
471bA (The Composition Process)
[Consideration of psychological and formal elements basic to writing and related forms of nonverbal expression and the critical principles that apply to evaluation.] Text: photocopied course packet, to be purchased at Professional Copy. 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 Undergraduate Advising office, A-2-B Padelford (206-543-2634).
492 A (Advanced Expository Writing Conference)
Tutorial arranged by prior mutual agreement between individual student and instructor. Revision of manuscripts is emphasized, but new work may also be undertaken. Instructor codes, further information available in Undergraduate Advising Office, A-2-B Padelford (206-543-2634).
493 A (Advanced Creative Writing Conference)
Tutorial arranged by prior mutual agreement between individual student and instructor. Revision of manuscripts is emphasized, but new work may also be undertaken. Instructor codes, further information available in Creative Writing office, B-25 Padelford (206-543-9865; open 1-5 daily).
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)
U.S. Global Politics in the Late Twentieth-Century Novel. In this course, which is a study of both the aesthetic and political transformations evidenced in the novel, we will read a range of novels by US-based authors interested in exploring the sometimes catastrophic, sometimes revolutionary effects of US global politics and culture in the last half of the twentieth century. In the cold war era that followed the end of World War II, these influential novelists, writing with a pronounced sense of anxiety about the future of US culture and global politics, tried to account for the cultural and political developments of that era. Their focus was principally: the sudden and horrific destruction precipitated by the dropping of the atomic bomb; the legacy of the Jewish holocaust in Europe; the strategic importance of the Pacific Rim and Asia; the entrenchment of anti-communist narratives and rhetoric; a wave of postcolonial revolutions and nationalism; the growth of new global media and cultures; and debates about scientific and reproductive technologies. Through an engagement with these complex issues and the sometimes violent debates they provoked, our materials offer a sampling of how artists and intellectuals attempted to record and bear witness to wartime traumas and postwar revolutions, as well as how they sometimes reflected and reinforced the effects o new forms of globalization and cold war nationalism. As graduating seniors, students in the course will be expected to participate vigorously and daily in class discussions; they should also expect weekly writing assignments and a final long paper (10 – 12 pages). For more information, contact the professor. Texts: Kurt Vonnegut, Cat's Cradle; Jessica Hagedorn, Dogeaters; Jonathan Safran Foer, Everything is Illumintted; photocopied course packet.
497/8bB (Honors Senior Seminar/Senior Seminar)
Hamlet and Contemporary Criticism. Study of the play and critical responses to it focusing principally on the 20th century. Research paper of moderate length (10 – 15 pp.). Texts: Shakespeare (Susan Wofford, ed.) Hamlet (Case Studies in Contemporary Criticism); Thomas Kyd, The Spanish Tragedy (ed. Mulryne).
497/8 C (Honors Senior Seminar/Senior Seminar)
Reading for Technique. This seminar is designed with creative writers in mind, particular fiction writers. It is modeled on ENGL 581, “The Creative Writer as Critical Reader,” for MFA students. We will read a few novels and several short stories and analyze them from the point of view of practicing writers, rather than as literary critics. This means we will be directed by a different set of questions from those typically mobilized in a senior seminar or other literature class, and we will deploy some fairly hoary but still useful concepts to begin posing those questions. The questions will examine how aesthetic effects are produced, and the concepts will include such fundamental ones as plot, character, voice, and theme. The challenge, in other words, is not in the concepts themselves, as in some more theoretical courses, but in the application of the concepts to concrete instances and in the depth of insight to be gleaned thereby. While the class is designed for writers, and my preference is that it will be composed entirely or at least mostly of writers, non-writers can still learn a lot about how a piece of fiction is put together by concentrated attention to these questions.
In addition to the primary texts, we will read some commentaries on writing by writers, which hopefully will help illuminate our questions of craft. If there is time, we will spend a week or two talking about the writer’s social role, political commitments if any, and related vexed questions. Please note that this is not a creative writing workshop. You will not be producing original creative work for this class. Assigned work will include response essays every two weeks, offering a general technical assessment of the novel or stories under consideration, and examining a particular aspect of the work (i.e., questions of plot, character, voice, etc.). Also, a long essay at the end, modeled on the MFA Critical Essay, in which you examine one or more authors in light of your own aesthetic goals and practice and in light of some relevant, independently researched criticism. The idea is that the response papers will build toward the long essay. The readings reflect my preference for unconventional fiction, but that should not detract from their usefulness as models. I’m requiring more books than I usually do, on the supposition that as practicing writers you will benefit by owning these books long after the course is over, even if we only read selections now. (If you have concerns about the expense, get in touch and I’ll give you some ideas about how to save some money.) 497: Limited to honors seniors majoring in English (add codes in English Advising, A-2B PDL); 498: limited to seniors majoring in English.) Texts: Primary: Hoban, Riddley Walker; Calvino, Invisible Cities; Woolf, The Waves; Pancake, Given Ground; Gass, In the Heart of the Heart of the Country; O’Brien, The Things They Carried; Braverman, Squandering the Blue; Bambara, Gorilla My Love; Barthelme, Sixty Stories; Baldwin, Another Country; Secondary: Gardner, The Art of Fiction: Calvino, Six Memos for the Next Millenium: Gass, Fiction and the Figures of Life; photocopied course packet.
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).