(Descriptions last updated 14 June 2005)
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.
Creative Writing add codes
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.
First Week Attendance
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.)
ESL Requirement for Non-Matriculated
Students not previously admitted to the University of Washington (nonmatriculated status) may enroll in ENGL 111, 121, 131, 281, 282, 381, 382, 471, or 481 only if they have met the following ESL requirements: a score of at least 580 on the paper-based TOEFL or 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, email@example.com.
111 (Composition: Literature)
3 sections: TTh 9:40-11:40; M-Th 12:00, MW 9:40-11:50
[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)
7 sections: M-Th 9:40; M-Th 10:50; M-Th 12:00; MW 1:50 - 4:00
[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.
200aA (Reading Literature)
Heather: “It’s just like Hamlet said, ‘To thine own self, be true.’”
Cher: “Ah, no, uh, Hamlet didn’t say that.”
Heather: I think that I remember Hamlet accurately.”
Cher: Well, I remember Mel Gibson accurately, and he didn’t say that. That Polonius guy did.”
Amy Heckerling, Clueless. Cher Horwitz’s Gibson quotation attests to the way most students encounter Shakespeare’s tragedy: via film. In this section of English 200, not only will we examine cinematic and novelistic interpretations, revisions, and expansions of Hamlet, but we will also analyze the play itself. By doing so, we will develop strategies for reading and writing about fictional texts. Throughout the term, we will focus on several approaches to literature and film: character analysis, psychoanalysis, and feminist theory. During the first week, we will develop our own interpretations of Hamlet before moving to other “readings” of the play, including Aki Kaurismaki’s 1987 film Hamlet Goes Business, Laurence Olivier’s 1948 film Hamlet and John Updike’s recent novel, Gertrude and Claudius. As we explore the ways other artists have interpreted, recreated, and expanded upon the original text, we will reconsider and revise our own understanding of the play.
This is a computer-integrated section, with students moving between a wired seminar room and a computer lab during most class meetings. The lab setting allows students to participate in inclusive electronic discussions, view and offer feedback on their peers’ work, collaborate on group activities, and conduct Web-based research. However, technical savvy is not a course prerequisite; students will receive instruction in all technical tools used in the classroom. Texts:Shakespeare, The Tragedy of Hamlet, Prince of Denmark; Updike, Gertrude and Claudius; CIC Student Guide.
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; Coetzee, Disgrace; Melville, Melville’s Short Novels.
213 A (Modern & Postmodern Literature)
This course explores works of literature, social science and critical theory that examine the link between political violence and modernism and the role of postmodern thought in unmasking the operation of that violence. Course work will consist of close, active reading of texts; structured reading logs; short papers on major readings; and seminar presentations on background readings. Texts: Joseph Conrad, Heart of Darkness; Virginia Woolf, To the Lighthouse; Tadeusz Borowski, This Way to the Gas Ladies and Gentlemen; Hannah Arendt, Eichman in Jerusalem; Sembene Ousmane, The Money-order with White Genesis; Liisa H. Malkki, Purity and Exile; Nawal El Saadawi, The Well of Life; Dubravka Ugresic, The Museum of Unconditional Surrender.
213 B (Modern & Postmodern Literature)
This summer we will study representative modern and postmodern literary texts. We will focus on experimentation in 20th-century literature and reading assignments will include relevant secondary materials on modernism and postmodernism. Texts:Spiegelman, In the Shadow of No Towers; George Orwell, 1984; James Joyce, Dubliners; Margaret Atwood, Oryx and Crake; Virginia Woolf, To the Lighthouse; Paul Auster, Oracle Night.
225 A (Shakespeare)
Ahh . . . Shakespeare in the summer time! What could possibly be better? Well, maybe you would prefer chillin’ n the sun to being stuck in a classroom reading the great Bard, but Shakespeare, despite the initial difficulties students sometimes have with his language, can be very sexy. Along these lines, the theme of our course for this summer will be romance in the texts of Shakespeare. Though we will be looking at Shakespeare through the notions of love and desire, we will also explore what romance was in the late 16th / early 17th centuries and the cultural implications of this, inquiring how the emotion of love is defined socially and of course, questioning what makes a Shakespearean Romance play a romance at all. From a more general perspective, the course will focus on close readings of texts, with a particular emphasis on decoding the language of arguably one of the most important figures in the canon of Western literature. To this end, the main goal is to make you more confident readers of Shakespeare. In addition, we will negotiate the difference between the works as they perhaps might have been understood in Shakespeare’s own culture and how they have been understood since. We will also be working with modes of production, including film and art. Because these works were meant for the stage, we will also be discussing aspects of performance and if possible, we will attend one of the plays we will be reading. As this is a W course, you will be expected to write. Text: Bevington, ed., Complete Works of Shakespeare.
229 A (English Literary Culture: 1600 – 1800)
We will discover the ways in which British poetry, drama, and prose comment upon the expanding British nation and also upon individuals’ experiences therein. In the process, we will explore how reading literature of an earlier time provides ground for examining our own positions in language, culture, and society. Because we survey a lot of territory in a course like this, the material is frustratingly selective, and whizzes by frustratingly fast, but you should acquire a good appreciation of several important texts and authors of the period, including Donne, Milton, Defoe, and Pope. In addition, we’ll look at some more bizarre and more minor texts and authors in order to get a better sense of the scope and the “fringes” of the period’s literature. The readings demand intense close attention to detail and nuance, playfulness with language, and the willingness to step outside of your own historical circumstances. Requirements (subject to slight change): Fairly heavy reading load, weekly response papers, one longer essay, midterm exam, final exam, and presentation. Texts: The Norton Anthology of English Literature, Vol. 1C: The Restoration and Eighteenth Century; Daniel Defoe, Moll Flanders.
230aA (English Literary Culture: After 1800)
In the middle of the 19th century, in the decade that was to see the freeing of slaves in the United States and the freeing of the serfs in the Czar’s Russia, John Stuart Mill—in England—could define “modern institutions, modern social ideas, modern life itself” as a condition under which “human beings are no longer born to their place in life, and chained down by an inexorable bond to the place they are born to, but are free to employ their faculties… [and] to achieve the lot which may appear to them most desirable.” This is from an essay on The Subjection of Women published in 1869. I would say that one of the most consistent themes in the definition of what Mill calls modernity over the past 200 years would be the many tests of his working definition—that is, the association of modernity with social mobility. Mill himself notes that what he ascribes to “human beings” is not yet true for human beings who happen to be women. We will study the long period described by this course (1800-2005) by our study of how various writers and film makers test Mill’s premise in two periods separated by a century: England around 1860 and England around 1960. Selections from Mill’s essays On Liberty (1859) and The Subjection of Women (1869) along with Charles Dickens’ Great Expectations (1861) will characterize the earlier period; David Lean’s film of Dickens’ novel (1946) along with the novella and the film of Alan Sillotoe’s Loneliness of the Long Distance Runner (1959; 1962) and the play and film of John Osborne’s Look Back in Anger (1956, 1959) will take us to the latter. Lecture and discussion daily along with frequent short essays. Texts: (1860) Charles Dickens, Great Expectations; John Stuart Mill, On Liberty(selections – electronic reserve); (1960) John Osborne, Look Back in Anger; Alan Sillitoe, The Loneliness of the Long Distance Runner.
242 A (Reading Fiction)
Drawing on a range of short and longer works of fiction from the late 19th century to the present, this course examines how various narrative forms and styles – realist, naturalist, gothic, and fantastical – are used to explore issues of identity and place. Special emphasis will be given to the development of a critical reading vocabulary and the writing of short analytical papers. Texts: James Joyce, Dubliners; Henry James, The Turn of the Screw; Ursula K. LeGuin, A Wizard of Earthsea; Tobias Wolf, Old School.
242aB (Reading Fiction)
M-Th 12:00 – 2:10
Theories of Childhood: Constructing the Child, the Adult and the Citizen in Children’s Literature. As the title of this section states, we will be exploring the various types of constructions circulating in didactic, evangelical, macabre, and fantasy children’s literature spanning the 18th – 20th centuries. We will begin the course by exploring the ways in which the concept of the child has changed from medieval conceptions to present-day constructions. Then we will explore the ways in which children’s literature rose out of didactic, evangelical, and feminist concerns between the 17th and 19th centuries. Next, we will explore the use of children’s literature as a way of addressing a variety of concerns in both macabre stories and fanciful fairy tales. We will end the course by examining 20th-century American preoccupations with childhood and issues of language and ethnicity in the ways in which older versions of children’s stories have become repackaged for American film and reading audiences. Throughout the course, we will also be looking at assumptions of audience (both child and adult) and explore the complex and interconnected ways that issues of race, ethnicity, gender, class, nationalism, sexuality, dis/abilitiy complicate this easily-dismissed body of literature. You will both write daily papers (in-class writing and out-of-class blogs) and two major papers. Texts: Colin Heywood, A History of Childhood; Iona and Peter Opie, eds., The Oxford Dictionary of Nursery Rhymes; Tatar, ed., The Annotated Classic Fairy Tales; Byatt, ed., The Annotated Brothers Grimm; Hoffmann, Shock-Headed Peter; Lindgren, The Adventures of Pippi Longstocking; Carroll (Gardner, ed.), The Annotated Alice: The Definitive Edition; Murray, American Children’s Literature and the Construction of Childhood
250aA (Introduction to American Literature)
This course is not a “survey” of American literature, but rather an “introduction” to it. Its aim is to introduce you to this national literature by focusing on three themes – authorship, captivity, and passing – that are often present in works by American authors. This means we will read the works thematically, not chronologically. Because of the condensed nature of this particular course, there are many things we will not be able to cover, including the biography of the writers and many of the historical contexts in which they wrote. However, I also look at this class as a brief (very brief!) introduction to themes in American culture. We will be reading the culture through the literature, and many of our discussions will try to understand how literature is both a part of and a creator of culture. In addition to being about American literature and culture, it is also meant to introduce you to some specific literary concepts (like figurative language and narrative) and to methods of literary analysis, especially close reading. Although I hope you enjoy the readings and discussions, it is not intended for students who just want to read a few literary works as an escape from organic chemistry, or who think a summer course will be easy. The principal requirements include four in-class writing assignments, a longer essay and participation. Texts: Susanna Rowson, Charlotte Temple; Art Spiegelman, Maus: A Survivor’s Tale: And Here My Troubles Begin (vol. 1); Frederick Douglass, Narrative of the Life…; F. Scott Fitzgerald, The Great Gatsby; Nella Larsen, Passing.
258 A (African-American Literature: 1745 – Present)
[A chronological survey of Afro-American literature in all genres from its beginnings to the present day. Emphasizes Afro-American writing as a literary art; the cultural and historical context of Afro-American literary expression and the aesthetic criteria of Afro-American literature. Offered: jointly with AFRAM 214.]
281aA (Intermediate Expository Writing)
M-Th 12:00 – 2:10
This section is a one-month computer-integrated 5-credit intermediate composition course in which the central theme – family history – is common to all of our lives. While this theme is common, the nature of our families and our experiences within them vary tremendously. Assignment #1 is designed to begin with your own experiences and memories, and to develop skills of expressing these personal narratives in an evocative and purposeful way. In Assignment #2 we turn to the discipline of Social History as a way to understand a specific person, element or event in each student’s family history. This project requires extensive research (both personal and library-based); training will be provided in part by UW libraries History subject area specialists. Peer critiques and daily assignments (including an oral history interview and transcript) are also required. Assignment #3, the Final Portfolio, requires that students bring together examples of their work and analyze their learning about family, history and writing this quarter. To be successful in this class, students will need to come to class daily, to keep up with daily assignments, and to spend a considerable amount of time outside of class pursuing their research, d drafting and revising essays, and commenting on the work of peers. No auditors. Texts: Hacker, Pocket Style Manual; 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.
281bB (Intermediate Expository Writing)
[Writing papers communicating information and opinion to develop accurate, competent, and effective expression.] 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)
[Intensive study of the ways and means of making a poem.] No texts.
284aA (Beginning Short Story Writing)
Via a sequence of short reading and writing assignments, students will learn some of the principles and possibilities of narrative. Text: photocopied course packet.
284 B (Beginning Short Story Writing)
[Introduction to the theory and practice of writing the short story.]
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: Michael Coogan, ed., New Oxford Annotated Bible, 3rd ed.
315 TS (Literary Modernism)
MW 7-8:50 pm
We’ll look at some of the major achievements in fiction and poetry from the first part of the twentieth century. Expect a mix of Pound, Eliot, Woolf, Yeats, Kafka, Moore, Williams, Faulkner, and others, along with spirited conversation about what makes each of these Modernists modern. Evening Degree students only. Texts: Franz Kafka, The Complete Stories; Virginia Woolf, Mrs. Dalloway; William Faulkner, As I Lay Dying; Wallace Stevens, The Emperor of Ice Cream and Other Poems; T. S. Eliot, Selected Poems; W. B. Yeats, Selected Poems and Four Plays.
323bA (Shakespeare: to 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.
324aA (Shakespeare: after 1603)
[Shakespeare's career as dramatist after 1603. Study of comedies, tragedies, and romances.
328 A (English Literature Later 18th C.)
In this course, we will read literature of the period formerly known as the “Age of Johnson.” It has also been known as the “Age of Sensibility” and the “Pre-Romantic” era. All of these titles are limited and limiting, and we’ll examine the why and how of all of them by reading poetry and some prose of the period. This was a time when the idea of authorship was in flux, and undergoing changes that led to modern conceptions of creativity and literature. Authors include: Samuel Johnson, James Boswell, Oliver Goldsmith, Ann Yearsley, Hannah More, William Blake, William Wordsworth, and Mary Wollstonecraft. Reading load is fairly heavy. Other requirements include short response papers, one longer essay, and a midterm and/or final exam. Texts: Norton Anthology of English Literature, Vol. 1C: The Restoration and Eighteenth Century; Oliver Goldsmith, The Vicar of Wakefield.
335aA (English Literature: Age of Victoria)
It is safe to say that more of what we commonly call “literature” was produced, printed and consumed (that is, read) in Victorian England (roughly 1830 to 1900) than in all periods that precede it. The course is short, the period long. We will resolve this difference by focusing on several magnificent texts written dead center in the period, each approaching through different means what I also consider to be issues central to the period. In fiction, prose argumentation and in poetry, Charles Dickens, John Stuart Mill, and Robert Browning each describe the complex emergence of the Self in the modern mass society that produced, printed and consumed all that literature. We will read Dickens’ Great Expectations, Mill’s essays On Liberty and On the Subjection of Women and several of Browning’s fine dramatic monologues. Each of our texts was written within a few years of 1860. There will be frequent one page response papers written during the course and a somewhat longer essay at the end. Brief lectures, lots of discussion. Texts: Charles Dickens, Great Expectations; J. S. Mill, Liberty with the Subjection of Women (ed. Collini); Robert Browning (electronic reserve).
337 TS (The Modern Novel)
TTh 7:00-8:50 pm
This class examines the Anglo-American novel during the first third of the twentieth century. Special attention will be given to how narrative innovation – particularly the emphasis on interiority, ambiguity, and fragmentation – operates against a background of urbanization, migration, colonialism, racism, and world war. Evening Degree students only. Texts: Henry James, Turn of the Screw; James Joyce, Portrait of the Artist as a Young Man; Rebecca West, Return of the Soldier; Virginia Woolf, Mrs. Dalloway; Nella Larsen, Passing; William Faulkner, As I Lay Dying.
342aA (Contemporary Novel)
“If an exploration of a particular culture will lead to a heightened understanding of a work of literature produced within that culture, so too a careful reading of a work of literature will lead to a heightened understanding of the culture within which it was produced.” --Stephen Greenblatt, “Culture”
Social myth holds that novels are a means of escaping life, but the
readings for this course challenge you to do otherwise – to link painful
literary plots to social fact as a means of interpreting the nervous conditions
of contemporary life, what to ask of it, and how to live it. However much
the novels might differ in plot and locale, all are filled with contemporary
psychological, social, and political conflict; we will read them in these
contexts and with the aim of developing a felt awareness of current psychological,
cultural and global conditions. Course requirements include weekly discussion,
textual and cultural research, audiovisual presentations, and essay analyses.
Texts: Dangarembga, Nervous Conditions; Doyle, The
Woman Who Walked Into Doors;
Ishigura, Never Let me Go; Otsuka, When the Emperor was Divine.
345aA (Studies in Film)
In ENGL 345 we will analyze how and why films tell stories by focusing on films that portray the relationship between humans and technology. We will examine how such films both draw on and shape contemporary cultural conceptions of technology. Our investigation of the visual language filmmakers use to represent technology will involve a review of formal film terms. However, we will go beyond formal analysis to address the historical, social, and ideological contexts at play in films about technology. Course films will include Brazil, The Conversation, eXistenZ, The Matrix, The Terminator, and others. Course Goals and Methods: Students in the course will work toward several goals: learning how to read film both formally and contextually and developing as critical thinkers and writers. Course activities promote active learning, with most class sessions including a mix of mini-lectures, discussion, short writing exercises, and group work. My role as instructor is to provide the tools and resources you sill need to advance your own thinking and writing. I will pose questions, design activities to help you think through these questions, and respond to your ideas. Your role is to do the hard work - -the critical reading, discussion, and writing. You will analyze films, generate ideas in electronic and face-to-face discussions, verbally annotate a film clip, construct written arguments, and revise those arguments. Books: Bordwell and Thompson, Film Art: An Introduction; photocopied course packet.
353aA (American Literature: Later 19th C.)
The theme of this course will be literary movements. The period just after the Civil War saw incredible social changes, much of which had to do with different kinds of mobilities. There were large population shifts, as Americans moved from east to west, north to south, south to north, and as immigrants from Asia and Europe came to America for a variety of reasons. We will study a number of texts that describe the realities and consequences of these movements. Along with geographical mobility, there were dramatic shifts in the fortunes of Americans as economic changes resulted in intense class movements. Writers in the late 19th century chronicled the economic rise and fall of many individuals. These movements were not only dictated by class ideologies but also by ideas of race and gender as well. Literature is particularly adept at depicting class, race, and gender conflicts and we will be studying a number of examples. Finally, there are also literary movements that responded to these social and cultural changes. In particular, this period saw the rise of “realism” as the prime literary mode. We will be spending a good deal of time understanding what is real and not-so-real about realism. This is particularly important because whoever defines “realism” as a literary mode helps define the social realities as well. Requirements: There are three main requirements: four in-class writing assignments, a final essay, and participation. Texts: Horatio Alger, Ragged Dick and Mark the Match Boy; Mark Twain, Pudd’nhead Wilson; Charles Chesnutt, The Marrow of Tradition; Edith Wharton, The House of Mirth; Stephen Crane, Maggie a Girl of the Streets and other New York Writings.
354bA (American Literature: the Early Modern Period)
An examination of American Modernism, beginning with the poems of T.S. Eliot and others, followed by early and late modernist novels and plays, including those classically associated with the Modernist movement and many challenging and/or following altogether separate threads in the American literary tradition. Authors: Pound, Hart Crane, Moore, Millay, Frost, Stein, Sandburg, Williams, H.D., O’Neill, Toomer, Hughes, Faulkner, Henry Miller, and others. Texts: Baym, ed., Norton Anthology of American Literature: Between the Wars 1914-1945, Vol. D, 6th ed.; Henry Miller, Tropic of Cancer.
355aA (American Literature: Contemporary America)
Dangerous Don DeLillo. In this intensive summer a-term course we will study four of Don DeLillo’s novels as a way to examine the political, historical, formal, and philosophical themes that interest DeLillo. Especially important to our investigation will be DeLillo’s own assertion, made in a 1988 interview with Ann Arensberg, about the role of the artist in society: “The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail.” Through our reading and discussion of White Noise, Libra, Mao II, Cosmopolis, and selected theoretical concepts and critical essays, we will explore DeLillo’s diagnoses and critiques of contemporary American culture. Course requirements include: the ability to keep up with the course’s brisk pace, some familiarity with contemporary American literature and theories of postmodernity; consistent verbal participation in which you proffer well-articulated points and pose questions that demonstrate thoughtful engagement with the reading; three exams. Texts: DeLillo, White Noise; Libra; Mao II; Cosmopolis.
359aA (Contemporary American Indian Literature)
[Creative writings -- novels, short stories, poems -- of contemporary Indian authors; traditions out of which they evolved. Differences between Indian writers and writers of the dominant European/American mainstream.] Offered: jointly with AIS 377, SISCA 490aA)
361aU (American Political Culture: After 1865)
M-Th 6:00-7:50 pm
This course will examine ongoing tensions and marked disconnections between mass-mediated national narratives and actual state policies: that is, between hegemonic ideology and historical realities. The former includes representations of America: as “the land of equal opportunity,” “individualism,” and “civil rights”; a “color blind society” and “multicultural mosaic”; a nation united in its respect for the ‘sanctity of all human life”; and an international force for “peace, justice, human freedom, and prosperity.” We will track articulations of these ideological narratives and revisions to them from the Post World War II Era to the present; we will read, therefore, across disciplines (eg., literature, law, journalism, film, and social critique); and we will pay particular attention to experimental texts whose formal strategies are a significant component of the challenge they pose to hegemonic narratives of nation. Active and informed participation in class discussion, five short critiques of assigned readings, a group project, and either two 5 pages critical essays or one 10 page critical essay are the core requirements. A course packet supplements required texts which are likely to include: Toni Morrison, The Bluest Eye; Leslie Marmon Silko, Ceremony; Jamaica Kinkaid, Small Place; Don Dellilo, MAO II, and R. Zamora Linmark, Rolling the R’s.
370aA (English Language Study)
A crash course in the analysis of language, mainly English:
*The basic sounds of English and how to transcribe them; rules for combining
*Principles of English and formation; categories and rules of syntax;
*Principles of realtime language processing;
*How to describe word and sentence meaning; using a lexical corpus;
*Principles of language variation and language change.
Exercises, problems, and weekly quizzes. Text: Stewart and Vaillette, eds.,
Language Files, 8th ed.
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. Class will consist of some lecture and discussion, class presentations. Writing groups for each paper. Recommended preparation: good grasp of the conventions of formal prose and habitual reading. 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. Text: Bryan Garner, Oxford Dictionary of American Usage and Style.
384aA (Intermediate Short Story Writing)
Via a sequence of short reading and writing assignments, students will learn some of the principles and possibilities of narrative. Text: photocopied course packet. Prerequisite: ENGL 284.
384bB (Intermediate Short StoryWriting)
[Exploring and developoing continuity in the elements of fiction writing. Methods of extending and sustaining plot, setting, character, point of view, and tone.] Prerequisite: ENGL 284. Text: photocopied course packet.
422aA (Arthurian Legends)
This course examines one of the most powerful legends in Western literature: the legend of King Arthur and his knights. We will read medieval works, mainly in modern translations, concerned with various aspects of the legend and explore the heroic archetype which Arthur, Lancelot, Perceval, Tristan, etc., represent. More importantly, we will investigate how authors over hundreds of years have shaped the Arthurian and Holy Grail material to suit their own politics, intentions, and audiences. A constellation of themes is associated with the legendary Arthur. These themes – love in conflict with honor, finding self-knowledge, empire-building, the perfidy of women (and women are almost always – in this world – the causes of destruction or dissention), loyalty to comitatus, the power of eroticism, the conflict between cities and nature, between the matriarchy and patriarchy – are poignant and intensely human. Despite the fantastic settings and ancient social codes embodied in the romances and legends, the stories themselves continue to move audiences and inspire artists because of their human content.
Most students will have some familiarity with the “Camelot” move,
or “The Sword in the Stone” or will have read T. H. White’s
Once and Future King, but will perhaps have little sense of the roots of
the legend, which is where we begin. We will look at literary genre (romance,
lay, chronicle, etc.) insofar as the genre informs our understanding of the
medieval audience’s expectations for the work. The focus of the course
will be literary development of the legend through time. From some vague
historical character of the ancient chronicles, Arthur becomes the center
of a mythic cycle of tales which are central to the ethos of the Western
world. Requirements: Quizzes, class report, short papers,
final. Class reports will focus on later versions of the legend or some medieval
covered in class.
Texts: Wilhelm, ed., The Romance of Arthur; Matarosso,
Quest of the Holy
Grail; Sir Thomas Malory, King Arthur and His Knights; Chretien
de Troyes, Arthurian Romances; Gottfried von Strassburg, Tristan.
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.] 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.
475aA (Colloquium in English for Teachers)
This is a 5-credit service-learning course open to any UW student interested in reading and writing about, discussing, and volunteering in public elementary education. This course will be relevant for students preparing to work with children in any capacity; you need not be or plan on becoming a teacher. Readings will include theories and practices of literacy, discipline/management, multicultural and anti-bias education and the role(s) of public education in a democratic society. All students will also volunteer regularly in Seattle Public Schools Compensatory Education summer program. To be successful in ENGL 475 students must attend all class meetings and volunteer sessions. Text: photocopied course packet.
477 A (Children’s Literature)
We’ll read and discuss an assortment of fairy tales, other stories and novels for children. 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. Texts: John Griffith & Charles Frey, eds., Classics of Children’s Literature, 6th ed.; J. K. Rowling, Harry Potter and the Sorcerer’s Stone.
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).
497/498aA (Honors Senior Seminar / Senior Seminar)
Deflecting “Down Under”: Reading Australian Literature.
“ Seeing comes before words . . . It is seeing which establishes our place in the surrounding world, we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.” --John Berger, Ways of Seeing
This course focuses on Australian literature in verbal and visual formats. We’ll be reading and critiquing these narratives in dual perspectives as well, popularly and commercially, more than simply as “Down under” entertainment or adventure narratives. We’ll also be reading with more discerning eyes that recognize and focus upon serious, sociopolitical themes. Printed texts include Nugi Garimata’s Follow the Rabbit-Proof Fence, and Robyn Davidson’s Tracks. We’ll also be studying film adaptations of the novel and memoir, plus the film Lantana, adapted from a play to screen). Course requirements include engaged discussion, online secondary research, PowerPoint (visual) presentations, and short essays. This is an intensive 4-1/2 week course – daily participation is essential. Texts: Garimata, Follow the Rabbit-Proof Fence; Davidson, Tracks; Edelson, Australian Literature: An Anthology of Writing from the Land down Under.
497/498bB (Honors Senior Seminar / Senior Seminar)
Race, Class, Gender, and Religion in Shakespeare’s Merchant of Venice. A study of one of Shakespeare’s most fascinating and challenging plays. We’ll spend our time situating the play in its historical and cultural context. We’ll also examine contemporary theories of reading and explore how they might be applied to an understanding of the play. Essay, assigned reports, participation in seminar discussion. Texts: M. Lindsay Kaplan, ed., The Merchant of Venice: Texts and Contexts; J. B. Stean, ed., Christopher Marlowe, The Complete Plays.
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).