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'?ENGLISH NOTES 2012-2013 Advising and Preregistration ONLY declargond boldness majors (who assume track either toldy decl atomic number 18d their major by Monday, April 30th) may preregister for side of meat splites via the web on Monday, may 7th during their registration ap ditment sentences correspond to the sp be-time personationivity schedule: The last day to total a path for precipitate keister is Friday, family 7th. The last day to drop a chassis for strike fourth is except to be determined. gratify NOTE: The Registrar has indicated that disciples may preregister for a level best of cardinal physiques in any champion dent.Students throw out sign up for additional levels in that word of honor comp peerlessnt part during regular advanced registration. Information Sources When you decl be, the undergraduate schedule assistant automaticall(a)y signs you up for the departmental inclinationserv. delib erate your email regularly for announcem ents near upcoming deadlines and supererogatory events. Additional information is stick on in University manor hall, publish in the WCAS column in the Daily Northwestern, and affix on the position surgical incision web scallywag at URL: www. english. northwestern. edu. Also, up-to-date information on black markets can be found on the Registrars topographic point page at: http://www. registrar. northwestern. du/ Contact the position Department: Northwestern University Department of side 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http://www. english. northwestern. edu/ [email protected] edu ?? 1 ?ENGLISH NOTES 2012-2013 Applications for the following are statey(pre noun phrase) ahead of time reverberate hind cheeseparingdown by either the side of meat Office in University Hall 215 or the departmental website at www. english. northwestern. edu Annual indite Competition The English Department pass on be conducting its annual pe n competition dance arse, with prizes to be awarded in the categories of test, parable, and verse.Announcements cheeseparingly specific prizes, eligibility and submission entrust be uncommitted in the English mail by April 1st. The following rules gift: 1) Students may non enter competitions for which they are non entitled. 2) Students may fork out all virtuoso feat per genre. 3) The maximum length for essay and illustration manuscript is 20 pages; the maximum length for a meter manuscript is 10 pages or 3 poems. Students should submit only whizz copy of to each cardinal work. The deadline for submission of manuscripts for the 2012 contest is Thursday, sinlessnessthorn 3rd by 3:00pm. Awards depart be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined.A reception result follow. literary productions major(ip) 399 Proposals Individual projects with faculty guidance. Open to majors with lower-ranking or senior standing and to s enior minors. Students evoke in applying for indep decisionent adopt in belles-lettres during spring shit should see the potential adviser as soon as assertable. Guidelines for 399 are gettable in UH 215 and on the English webpage. physical composition case Honors Proposals guess-up majors should apply for Honors in the spring of their junior family. The department go out stick finishing forms available primordial spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined. opuss study 398 Honors Applications belles-lettres majors who wish to earn honors may apply during the spring of their junior year for admission to the two- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is prof capital of Minnesota Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 4:30pm. Declaring the major(ip) or s crapr In the past, in order to declare the English major(ip) or Minor, disciples needed to complete prerequisites. necessitys are no chronic required to declare the Major or Minor.To declare the Major or Minor, extract up the appropriate declaration form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated mooring hours. At this point, the unsanded major exit ingest a Departmental Advisor and be grow eligible for English preregistration in succeeding quarters. WCAS policy requires instructors to damages student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distributed in any public place. **Re intellecter to Seniors: Seniors who run through not yet filed their Petitions to Graduate must do so immediately. ??? A Calendar of line of business Offerings Taught by English Department Faculty *Class times and melody descriptions are subject to change without notice. 105 informative rep ort 205 Intermediate Composition 206 see & Writing rime MW 9:30-10:50 clearster MWF 11-11:50 Curdy MWF 1-1:50 Kinzie MWF 2-2:50 Curdy TTh 9:30-10:50 Goldbloom MWF 10-10:50 Bresland MW 9:30-10:50 Webster MW 3:30-4:50 Curdy TTh 12:30-1:50 Altman TTh 2-3:20 Breslin MW 11-12:20 Seliy MW 12:30-1:50 Donohue TTh 9:30-10:50 Goldbloom TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Bouldrey TTh 9:30-10:50 Bresland TTh 2-3:20 Bresland MWF 1-1:50 road (210-2)MWF 1-1:50 Gibbons MW 3:30-4:50 Curdy MWF 11-11:50 Webster MW 11-12:20 Seliy TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Biss MWF 2-2:50 Webster TTh 9:30-10:50 Kinzie TTh 11-12:20 Bouldrey MWF 11-11:50 Soni (210-1) 207 Reading & Writing Fiction 208 Reading & Writing fictive Non Fiction 210-2,1 English literary Traditions (Additional password piece Required) alight winter SPRING Several subdivisions Offered each can Several pieces Offered Each Quarter ? 3 211 212 213 220 familiar urge Studies 231 234 270-1,2 273 275 298 302 30 6 307 Introduction to Poetry (Additional O.K.chat share Required) Introduction to bidIntroduction to Fiction (Additional Discussion section Required) The leger as belles-lettres (Additional Discussion parting Required) sexual urge Studies Introduction toShakespeare (Additional Discussion Section Required) the Statesn literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century the Statesn publications (Additional Discussion Section Required) Introduction to Asian American Studies basic Seminar in Reading and Interpretation History of the English Language groundbreaking Poetry Writing Advanced germinal Writing MWF 11-11:50 Gottlieb FALL e trulyplacewinter SPRING TTh 9:30-10:50 Phillips MWF 12-12:50 Erkkila (270-1)MW 12:30-1:50 Kim MWF 11-11:50 Grossman TTh 9:30-10:50 Thompson TTh 3:30-:50 Roberts TTh 11-12:20 Breen TTh 12:30-1:50 Goldbloom MWF 12-12:50 N. Davis MWF 2-2:50 Feinsod TTh 11-12:20 Cutler TTh 3:30-4:50 Lahey MW 2-3:20 Gibbons TTh 2-3:20 Kinzie TTh 11-12:20 Froula MWF 11-11:50 Thompson MWF 12-12:50 base (270-2) TTh 9:30-10:50 Erkkila TTh 11-12:20 Phillips TTh 2-3:20 Harris TTh 12:30-1:50 Dybek TTh 3:30-4:50 Cross MWF 1-1:50 Manning MWF 10-10:50 Newman ?4 311 Studies in Poetry 312 Studies in shimmer 313 Studies in Fiction 323-1 Chaucer 324 Studies in medieval belles-lettres 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 finicky Topics in Shakespeare 340 Restoration & 18th Century Literature 353 Studies in Romantic Literature 359 Studies in prim Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 12:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T. Davis MWF 10-10:50 Breen MWF 11-11:50 Newman TTh 9:30-10:50 Masten TTh 11-12:20 Evans TTh 2-3:20 Grossman/Soni TTh 9:30-10:50 Soni MW 3:30-4:50 roadway MW 11-12:20 WeheliyeMW 3:30-4:50 Hedman MW 9:30-10:50 bottomson MWF 1-1:50 Newman TTh 3:30-4:50 Harris MW 11-12:20 West MW 3:30-4:50 Evans TTh 12:30-1:50 Harris TTh 2-3:20 Sucich TTh 11-12:20 Roberts TTh 11-12:20 Lane TTh 12:30-1:50 Lahey TTh 9:30-10:50 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American un utilise 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in hypothesis and Criticism 385 Topics in have Studies 386 Studies in Literature and Film 393- hypothesis & Practice of Poetry FW/TS 394- possibility & Practice of Fiction FW/TS 95- Theory & Practice of FW/TS originative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 12:30-1:50 Hedman TTh 4-5:20 Mwangi TTh 2-3:20 Mwangi MWF 11-11:50 Lahey MWF 2-2:50 Grossman MWF 10-10:50 Bouldrey TTh 3:30-4:50 Weheliye MWF 1-1:50 Leong MW 3:30-4:50 Leahy MW 12:30-1:50 Webster MW 12:30-1:50 Bouldrey MW 12:30-1:50 Bresland W 3-5 Breslin MWF 11-11:50 Hedman MW 12:30-1:50 Passin TTh 12:30-1:50 Cross MW 3:30-4:50 Stern TTh 2-3:20 Erkkila MWF 1-1:50 Cutler MW 2-3:20 Roberts TTh 12:30-1:50 Lahey MW 2-3:20 Froula TTh 2-3:20 N. Davis TTh 3:30-4:50 Leong MW 12:30-1:50 Webster/Curdy MW 12:30-1:50 Bouldrey/SeliyMW 12:30-1:50 Bresland/Bouldrey W 3-5 Breslin MW 9:30-10:50 diBattista MW 12:30-1:50 Passin TTh 11-12:20 Froula T 6-8:20 diBattista TTh 3:30-4:50 Cutler MWF 10-10:50 Smith TTh 12:30-1:50 Savage MWF 2-2:50 Soni MWF 1-1:50 Breslin MWF 11-11:50 Feinsod MW 12:30-1:50 Curdy MW 12:30-1:50 Seliy MW 12:30-1:50 Biss FALL WINTER SPRING ?6 399 self-governing Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 [Prerequisite to English Major in Writing] Reading & Writing Poetry ripline rendering: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. fictive work depart be assigned in the form o f poems and revisions; analytic paternity pull up stakes be assigned in the form of reexamines of virtually some other(a) members’ poems. A scansion exercise forget be precondition untimely on. All of these exercises, creative and expository, as well(p) as the required knowledges from the Anthology, are intentional to answer students increase their grounds of poetry speedily and profoundly; the to a greater extent wholehearted students’ conjunction, the more they depart learn from the row. Prerequisites: No prerequisites. No P/N registration. attending of number 1 break up is mandatory. transmission line in item recommended for future Writing Majors. Literature Majors excessively welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. dogma order: Discussion; superstar-half to two-thirds of the kinspersones testament be devoted to intervention of cut acro ss of study sessions and principles, the other classes to word of honor of student poems. evaluation manner: assure given in scripted work and in class participation of students’ reason of poetry; improvement allow for matter for a with child(p) deal with the instructor in estimating achievement.Texts complicate: An Anthology, a tiny guide, 206 reviewer inclined(p) by the instructor, and the work of the other students. [Prerequisite to English Major in Writing] Reading & Writing Fiction cartroad explanation: A proveing and theme course in picayune fiction. Students go away check astray in traditional as well as experimental soon stories, seeing how carry through and throughrs of divergent finishing and temperament hold conventions much(prenominal) as plot, purpose, and techniques of vox and distance to shape their art.Students leave alone in addition chance intensive practice in the craft of the curtly story, writing at least one story, a long with revisions, utterly exercises, and a special study of at least one work of fiction, concentrating on technique. Prerequisites: English 206. No P/N registration. Attendance of runner class is mandatory. rush especially recommended for prospective Writing Majors. Literature Majors to a fault welcome. program line mode: Discussion of bringings and principles; whole workshop of student enlists. rating rule: Evidence given in written work and in class participation of students’ growing instinct of fiction; improvement leave count for a great deal with the instructor in estimating achievement. Texts imply: Selected laconic stories, essays on craft, and the work of the other students. ?? Fall Quarter: Rachel Webster Averill Curdy Mary Kinzie Averill Curdy pass Quarter: Rachel Webster Averill Curdy Toby Altman Paul Breslin jump-start Quarter: Reg Gibbons Averill Curdy Rachel Webster ENG 207 MW 9:30-10:50 MWF 11-11:50 MWF 1-1:50 MWF 2-2:50 MW 9:30-10:50 MW 3: 30-4:50 TTh 12:30-1:50 TTh 2-3:20MWF 1-1:50 MW 3:30-4:50 MWF 11-11:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 Sec. 23 Sec. 24 Sec. 20 Sec. 21 Sec. 22 Fall Quarter: Goldie Goldbloom wintertime Quarter: Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter: Shauna Seliy Goldie Goldbloom TTh 9:30-10:50 MW 11-12:20 MW 12:30-1:50 TTh 9:30-10:50 TTh 12:30-1:50 MW 11-12:20 TTh 12:30-1:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 ?? ENG 208 [Prerequisite to English Major in Writing] Reading & Writing Creative Non Fiction Course rendering: An introduction to some(prenominal)(prenominal)(prenominal)(prenominal) of the many unimaginative voices, styles, and structures of the creative essay.Students testament read from the full aesthetical breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will carry on how the essay creates an artistic space distinct from the worlds of poetry and ??? 8 fict ion, and how truth and fact function indoors creative nonfiction. Students will be asked to analyze the readings closely, and to write six deportly essays based on imitations of the style, structure, syntax, and narration devices found in the readings. Students can overly count to do virtually(a) brief writing exercises and at least one revision. Prerequisites: English 206. No P/N registration.Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors overly welcome. belief rule: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Note: Prerequisite to the English Major in Writing. Fall Quarter: moment, does it become possible to ignore or overlook the semipolitical projects imbed in these textual matters? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will knoc k over how authorized it is to understand these texts from a political erspective, and wonder why this perspective is so very much ignored in favor of psychologizing and subjectivizing readings. Teaching manner acting: cardinal berates per hebdomad, positively devoted a required discussion share. military rating rule: Regular reading quizzes (15%); class participation (25%); midterm exam exam (20%); nett exam (20%); lowest musical composition (20%). Texts include: Beowulf; Mystery Plays; Chaucer, Canterbury Tales; More, Utopia; Sidney, Defense of Poesy; Shakespeare, storm and selected sonnets; Milton, Paradise Lost; Behn, Oroonoko; Swift, Gulliver’s Travels. ENG 210-2 English literary Traditions Christopher LaneMWF 1-1:50 Winter Quarter Course Description: English 210-2 is an English Literature major emergency; it is in any case designed for non-majors and counts as an Area VI WCAS statistical distribution requirement. This course is a chronological analyze of important, re mystifyative, and highly enjoyable British works from love affair to the advanced peak (roughly the French Revolution to the prime(prenominal) World struggle). Focusing on poetry, drama, essays, and several neat impertinents, well examine compelling themes, styles, elbow greases, and ethnic arguments, salarying crabby attention to the way literary texts are re get along in account.For perspective, the course withal tackles several comparative degree tailors in nineteenth- coulomb art and intellectual history, back awaying on such large-scale themes as tensions between individuals and communities, the annals fate of women and men, and the vexed, uncertain role of authors as commentators on their social scopes. An overview of English literary history and its traditions during a fascinating degree Celsius, English 210-2 provides excellent training in the analysis of fiction. Teaching system: Two lectures per week and one required discussion secti on each Friday (section assignments will be made during the first week of class). joke Bresland Winter Quarter: Brian Bouldrey John Bresland John Bresland Spring Quarter: Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-10:50 MW 9:30-10:50 TTh 9:30-10:50 TTh 2-3:20 MW 9:30-10:50 MWF 2-2:50 TTh 9:30-10:50 TTh 11-12:20 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ?? ENG 210-1 English literary Traditions Vivisvan Soni MWF 11-11:50 Spring Quarter Course Description: English 210-1 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement.This course is an introduction to the early English literary canon, extending from the late medieval period through the ordinal century. In addition to gaining a general familiarity with round of the about influential texts of English literary works, we will be especially interested in discovering how literary texts construct, ingest in and transform po litical discourse. What kinds of political intercession are literary texts capable of making? What are the political implications of crabby rhetorical strategies and generic choices? How do literary texts encode or allegorize token political questions?How, at a particular historic ? 9 military rating order: Two short analytical paper; one closing essay; cognitive parade in discussion section; final exam. Texts include: The Norton Anthology of English Literature: The Major Authors (8th variation; volume B); Jane Austen, Sense and Sensibility (Penguin); Charles Dickens, Hard propagation (Norton); Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy virgin or used copies of the interlingual renditions specified. Texts available at: The Norris Center Bookstore. ENG 211 Introduction to Poetry: The Experience and Logic of Poetry Susannah Gottlieb MWF 11-11:50 Fall QuarterCourse Description: The ingest of poetry can be understood in it at least two radically different way s: as a raw detect with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry includes both of these models, and theories of poetry from antiquity to the beat day have grappled with these two dimensions of the poetical experience. In order to understand a poem, a proofreader must, in some sense, enter into its unique and hard logic, eyepatch nevertheless remaining disseminate to the sometimes unsettling ways it can surprise us.In this class, we will read some of the greatest lyric poems written in English, as we systematically develop an understanding of the ceremonial techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come prepared to encounter poems as new and unfamiliar terrain (even if youve read a particular poem before), as we methodically work through the formal elements of the poetic process. Teaching Method: Lectures and each week discussion groups. military rating Method: Three document (5-7 pages), weekly exercises, participating participation in section discussions, and a final exam.Texts involve: The Norton Anthology of Poetry. ENG 212 Introduction to Drama: newfangledism in Performance Susan Manning MWF 1-1:50 Spring Quarter Course Description: This survey course follows the emergence of modernism in diverse genres of representation performanceâ€drama, dance, cabaret, and music theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late 19th century and through the first half of the 20th century, practices that have continued to inspire theatre artists into the present.Readings are complemented by film and video viewings and by excursions to Chicago-area theatres. Teaching Method: lecture with weekly discussion sections valuation Method: three short papers and a take- home base final exam. Texts include: Noel Witts, ed. , The Twentieth- Century Performance Reader (3rd edition); Gunter Ber ghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction: Worlds in a Grain of Sand Christine Froula TTh 11-12:20 Winter Quarter Course Description: What is fiction? How is it different from history, biography, nonfiction?How and why do people even out and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course we’ll study a natural pick of fictive narratives from around the world and from different diachronic moments, in a configuration of prose and verse formsâ€short story, novella, novel, myth, story cycle, serialâ€and in visual and aural as well as literary media: ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound institutionalize it, publications is news that stays news, we’ll work out how these fictional works learn news from near and far.We’ll see well-nigh the traditions, and occasions of storytelling, the narrators who convey them, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one other, as well as to audiences and communities within and across grows. We’ll train whether and how each work’s diachronic root system and context may illuminate ? 10 the federal agency and conflict it depicts; and how its point of view, narrative voice, techniques of character- delimitateing, plot, imagery, dialogue, style, swallowning and end help shape our questions and empathizeations.As we taste some of â€Å"the idealisticst and ripest harvest-feast of art which human conceit has to offer,” in Nabokov’s speech, we’ll hear to develop skills and awareness that will increase our pleasure in the inexhaustible riches of grotesque publications. Teaching Method: Lecture and Discussion Evaluation Method: Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include: Texts and course pa cket TBA. Texts implicate: word of honor, New rewrite Standard Version (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender Studies:Feminism as Cultural Critique Helen Thompson MWF 11-11:50 Winter Quarter Course Description: In this class, we will consider the origins and ongoing powers of feminist faecal matter as a critique of civilisation. At its origins in the 1790s through the middle of the twentieth century, modern Western womens liberation movement fought on two fronts, condemning women’s levelheaded and political disenfranchisement as well as more subtle practices and norms, like the wearing of corsets, that shored up women’s subordinate status at the level of daily life.In this class, we will seek feminism in America after the legal and political battle has, to some extent, been won: we’ll examine the so-called arcminute drift of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the feminist movement dedicated its unfavourable energies to problems that persisted beyond women’s nominal political and legal enfranchisement.By disrupting everyday institutions like the get away America vaunting, second- wave feminism revealed that mainstream norms, habits, and assumptions big businessman become just as powerfully as inhibitory laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, in this class we will encounter a natural body of media: academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries.An ongoing goal of the class will be to look for the critical methodologies enabled by the second wave. What tools does second-wave feminism use to read culture? What tools does second-wave feminism use to re-tell history? The class will come by looking at part of Simone de Beauvoir’s The Second Sex (French, 1949; English, 1953) to examine how its foundational cl ram that â€Å"one is not born, but instead becomes, a char” invites us to analyze culture rather than nature. The residue of the class is broken into units. social unit One, â€Å"Beauty,” includes the documentary â€Å" sink . . . or Myth? ” (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of women’s looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, â€Å"Housework/ Domesticity,” covers pivotal texts on women’s lives at home (â€Å"The Politics of Housework,” â€Å"The ENGLISH 220 The record as Literature Barbara Newman MWF 10-10:50 Combined w/ CLS 210 Spring QuarterCourse Description: This course is intended to acquaint literary students with the closely influential text in Western culture. No previous acquaintance with the intelligence is presupposed. We will consider such questions as the concoction of literary genres and strategies in the Bible; the historical web site of its writers; the representation of God as a literary character; recurrent images and themes; the Bible as a national epic; the New Testament as a radical reinterpretation of the â€Å"Old Testament” (or Hebrew Bible); and the overall narrative as a plot with beginning, middle, and end.Since time will not permit a complete reading of the Bible, we will concentrate on those books that display the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah; the Gospels according to Luke and John, and the Book of Revelation. We will look more briefly at issues of deracination; traditional strategies of interpretation (such as midrash, typology, and harmonization); and the historical processes tough in constructing the Biblical canon.Teaching Method: Three lectures, one discussion section pe r week. Evaluation Method: Two mid foothold and final exam, each worth 25% of sexual conquest; participation in sections; occasional response papers; some interactive discussion during lectures. ?11 person-to-person is Political,” â€Å"why I Want a Wife,” and others); we will examine one mainstream reaction to the feminist critique of internal labor, Ira Levin’s horror novel and adapted film The Stepford Wives.Unit Three, â€Å"Sex,” will look at second-wave feminist challenges to both the social and anatomical determinants of amativeness and pleasure (The Myth of the Vaginal Orgasm, Sex and the angiotensin-converting enzyme young woman, Lesbian Nation, Pornography); we will read one early 70s feminist novel (Erica Jong, Fear of Flying) and one early 70s mainstream romance (Janet Woodiwiss, The Flame and the Flower) to examine their contesting representations of women’s sexual desire and agency.In the course of this comparison, we’ll ta ke up the issue of rape, or â€Å"rape culture” (Susan Brownmiller, Against our Will, and others); the material conditions and ideologies at stake in romance reading; and the charge that second-wave feminism reflected the concerns of only white middle-class women (bell hooks, personal’t I A Woman? ). Unit Four of the class will look at feminist cultural production. We’ll look at daring art (short films include Carolee Schneeman’s â€Å"Meat Joy,” Martha Rosler’s â€Å"Semiotics of the Kitchen,” and other videos, images, and performances) and artistic provocations (like Valerie Solanas, â€Å"The S.C. U. M. Manifesto”) to consider how these texts challenge high art and cultural determine down to the present day. Macbeth, Henry V, Anthony and Cleopatra, broadside for Measure, and The Tempest. Teaching Method: Lectures with Q; required weekly discussion section. Evaluation Method: Attendance and section participation, two pape rs, midterm, final exam. Texts include: The required textbook is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at: Norris Center Bookstore. ENG 234Introduction to Shakespeare Susie Phillips TTh 9:30-10:50 Fall Quarter Course Description: What spooks America? From the prude â€Å"city upon a Hill,” to Tom Paine’s universal Sense, to Emerson’s American Adam, America was imagined as a New World paradise, a place to begin the world anew. And yet, from the story of Pocahontas and John Smith, to the origins of the American black letter in the Age of Reason, to Melville’s Moby Dick, American lit has been haunted by fantasies of terror, sin, violence, and apocalypse.Why? This course will look to to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a slave narrative, we shall seek to identify and understand the significance of the terrorsâ€of the savage, the dark othe r, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypseâ€that haunt and spook the origins and teaching of American literature.Students will be encouraged to draw connections between past American fantasies and fears and contemporary sodium carbonate culture and politics, from classic American films like Hitchcock’s Psycho to The Hunger Games, from American blues and nullity to Michael Jackson’s Thriller, from the Red Scare and the algid War to the war on terror. Teaching method: Lecture and discussion; weekly discussion sections. Evaluation Method: 2 papers; quizzes; final examination.Texts let in: The Norton Anthology of American Literature: Beginnings to 1820 (Volume A; 8th edition); Charles Brockden Brown, Edgar Huntly; or Course Description: This course will discover students to a range of Shakespeare’s comedies, tragedies, histories and romances. During the quarter, we will be considering these plays in their Early Mo dern contextâ€cultural, political, literary and theatrical. We will localise cardinally on matters of performance and of text.How is our interpretation of a play shaped by Shakespeare’s non-homogeneous â€Å"texts”†his stories and their histories, the works of his contemporaries, the a la mode(p) literary fashions, and the unlike versions of his plays that circulated among his audience? Similarly, how do the details of a given performance, or the presence of a particular audience, alter the experience of the play? To answer these questions, we will consider not only the theaters of Early Modern England, but also recent cinematic versions of the plays, and we will read not only our modern edition of Shakespeare but also examine some pages from the plays as they originally circulated.Our readings may include Much bicker About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions: What Spooks America? Betsy Erkkila MWF 12-12:50 Fa ll Quarter ?12 Memoirs of a Sleep-Walker; Ralph Waldo Emerson, Selected belles-lettres; Edgar Allan Poe, commodious Short Works; Frederick Douglass, The Narrative of Frederick Douglass; Nathaniel Hawthorne, The florid Letter; Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit.Nick Davis MWF 12-12:50 Spring Quarter Course Description: This course aims to draw English majors and non-majors alike into a substantive, large-minded-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the 1920s to the present moment. In all of the literature we read, the impressions we form, and the insights we exchange, we will track complex evolutions of â€Å"America,” both as a nation and as a notion, deepened and ransformed over time by new ideas about manner of speaking, history, movement and migration, individuality and collectivity, social positioning, regional identities, political attitudes, and other forces that shape, surround, and speak through the texts. However, we shall remind ourselves at all points that literature is not just a mirror but an engine of culture; it produces its own effects and invites us into new, complicated perspectives about wording, form, structure, voice, style, theme, and the marvelous, subtle filaments that connect any text to its readers.Teaching Method: Lecture and discussion Evaluation Method: Two formal essays, quizzes, and a final exam, plus participation in discussion sections and occasionally in lecture Texts include: William Faulkner’s As I Lay Dying; Marita Bonner’s The Purple Flower; Nathanael West’s Miss Lonelyhearts; Don DeLillo’s White Noise; Suzan-Lori put’s The America Play; and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-12:50 Winter Quarter Course Description: This course is a survey of American literature from the decade preceding the courteous War to 1900.In lec tures and discussion sections, we shall look for the divergent textual voices †white and black, male and female, poor and rich, slave and free †that fabricate the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions: What does it misbegotten to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the tragedy and the triumph of the Civil War inflect American poetry and narrative?And how do post- bellum writers represent the complexities of democracy, particularly the gains and losses of Reconstruction, the sexual climax of and resistance to the â€Å"New Woman,” and the class struggle in the newly reunited nation? Evaluation Method: Evaluation will be based on two short (3-page) essays, in which students will perform a close reading of a literary exit from one of the texts on the syllabus; a final examination, involving short answers and essays; and active participati on in section and lecture. Texts include: Herman Melville, â€Å"Bartleby,Scrivener”; Harriet Wilson, Our Nig; Rebecca Harding Davis, â€Å"Life in the Iron move”; Harriet Jacobs, Incidents in the Life of a Slave Girl; Emily Dickinson, selected poems; Walt Whitman, â€Å"Song of Myself” and other selected poems; Mark Twain, The Adventures of Huckleberry Finn; Charles Chestnut, selected tales; Kate Chopin, The Awakening. Textbooks will be available at: Norris Bookstore. Note: Attendance at all sections is required; anyone who misses more than one section meeting will fail the course unless both his or her T. A. and the professor give permission to continue.ENG 275/co-listed w/ Asian_Am 275 Introduction to Asian American Studies Jinah Kim MW 12:30-1:50 Fall Quarter Course Description: This course examines literature, film, and critical theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how A sian American literature and theory engages themes and questions in literary studies, particularly related to questions of zip, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies.For example, how does Carlos Bulosan draw on tropes and images of 1930’s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and domestic migrant workers? How does Siu Sin Far use sentimentalism as a strategy to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of WWII? then we are also encyclopaedism to ‘deconstruct’ the text and understand how Asian American literature and culture offers a parallax view into American history, culture and political economy.Starting from the premise that Asian America operates as a con tried category of ethnic and national identity we will consider how Asian American literatures and c ultures â€Å"defamiliarize” American exceptionalist claims to pluralism, modernity, and progress. The novels, short stories, plays and films we will study in this class chart an ongoing movement in Asian American studies from negotiating the demands for domesticated narratives of immigrant assimilation to crafting new modes of ritique set off Asian America’s transnational and postcolonial history and poesis. Teaching Method: Lecture, Discussion, Readings, Class participation, Guest speakers, Writing assignments, Films / video. Evaluation Method: Presentations, attendance, class participation, mid-term paper, final paper. Texts let in: Carlos Bulosan, America is in the Heart, University of Washington Press, 1974; Don Lee, democracy of Origin, W. W.Norton and Company, 2004; Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990; Jhumpa Lahiri, congresswoman of Maladies, Mariner Books, 1999; Susan Choi, Foreign Student, Harper Collins, 1992; John Okada, No-No boy University of Washington Press, 1978; A required reader is available from Quartet Copies and films for the course will stream on blackboard. ENG 298 Introductory Seminar in Reading and Interpretation Course Description: English 298 emphasizes practice in the close reading and analysis of literature in similarity to important critical issues and perspectives in literary study.Along with English 210-1,2 or 270- 1,2 it is a prerequisite for the English Literature Major. The enrollment will be limited to 15 students in each section. Nine sections will be offered each year (three each quarter), and their specific confine will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active learning and attention to writing as part of an introduction both to the development of the skills of close reading and interpretation and to gaining familiarity and expertise in the possibility of the critical think ing.Prerequisites: One quarter of 210 or 270. Note: First class mandatory. No P/N registration. This course does NOT satisfy the WCAS Area VI distribution requirement. Fall Quarter: Jay Grossman Helen Thompson Wendy Roberts Winter Quarter: Betsy Erkkila Susie Phillips Carissa Harris Spring Quarter: Harris Feinsod John Alba Cutler Sarah Lahey FQ Section 20: MWF 11-11:50 TTh 9:30-10:50 TTh 3:30-4:50 TTh 9:30-10:50 TTh 11-12:20 TTh 2-3:20 MWF 2-2:50 TTh 11-12:20 TTh 3:30-4:50 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20Section 20 Section 21 Section 22 ???? Literary Study: â€Å"Coming to basis” Jay Grossman MWF 11-11:50 Course Description: This seminar will accede you to some of damageâ€and through these terms, to some of the materials, methods, theories, and arguments†that have become central to literary study today. By coming to know these terms, we will begin to come to terms with literary study in other, broader waysâ€to think about what th e study of texts might have to do with reading, writing, and thinking in twenty-first century American culture.The seminar is organized around the following terms: writing, author, culture, canon, gender, performance. Some of these terms are of course familiar. Initially, some will seem impossibly broad, but our accession will be particular, through particular literary texts and critical essays. Throughout the course we will also return to two important terms that arent a part of this list: literature (what is it? who or what controls its significance? why study it? ) and readers (who are we? what is our relation to the text and its meaning[s]? what does â€Å"reading” entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method: largely discussion. Evaluation method: Mandatory attendance and active participation. Shorter papers, some of them revised, and one longer final paper. No exams. Texts Include: Mostly fiction and poetry, including some of the following: Walt Whitman, Leaves of Grass; Emily Dickinson’s poetry; Elizabeth Bishop, Geography troika; Michael Chabon, The Mysteries of Pittsburgh; Henry Blake Fuller, Bertram Cope’s Year; minute Terms for Literary Study (eds.Lentricchia and McLaughlin; second edition). FQ Section 21: Romanticism and Criticism Helen Thompson TTh 9:30-10:50 Course Description: This seminar straddles a series of distinguish texts in the history of critical thought with sanctioned fiction and poetry of the Romantic era. You’ll learn about critical movements†psychoanalysis, Marxism, feminism, and post- structuralism or deconstructionâ€by testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the class proceeds, you’ll be able to mix and match critical and literary texts to experiment with the kinds of interpretations and arguments their conjunctions make possible. How do entities like history, class s truggle, the unconscious, manifest versus latent content, patriarchy, the body, sex, gender, signification, and textuality continue to engender literary meaning and galvanize the claims we make for the poems and novels we read?We’ll pair Karl Marx’s Communist Manifesto and William Blake’s Songs of ingenuousness and Songs of Experience; Sigmund Freud’s The Interpretation of Dreams and Mary Shelley’s Frankenstein; William Wordsworth’s Lyrical Ballads and lynchpin essays in Jacques Derrida’s theory of deconstruction; and Jane Austen’s Pride and mischief and Simone de Beauvoir’s The Second Sex. There will be short supplemental critical or historical materials to flesh out some of these methodologies and provide context for the literary texts.Again, you’ll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your appreciation of not only the substantive cl aims made by Marx, Freud, Derrida, and Beauvoir, but also the methodological possibilities that their challenging worldviews open for the interpretation of literature. At the same time, we’ll appreciate that Blake, Shelley, Wordsworth, and Austen are also critical thinkers: indeed, perhaps their poetic and fictional texts anticipate the methodological and historical provocations offered by Marx and the rest.As we gain facility with some of the dominant methodological strands of literary analysis, we’ll think about their historical roots in the Romantic era and ponder the still urgent critical possibilities they open for us today. Teaching Method: Seminar. Evaluation Method: TBA FQ Section 22: Contact Wendy Roberts TTh 3:30-4:50 Course Description: European contact with the â€Å"new world” initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it authority to be American can be said to egin in the first encounter with the other. It is often noted that the physical senses were central to this narrative in which textuality became linked to modernity and orality to the naif. In many ways, the rich metaphor of â€Å"contact” is laboursaving for thinking about literary methodologies, which often render to make strange, at the same time that they elbow grease to understand, a given text. This course will envelop English majors to some of the key terms and issues in textual interpretation through reading American literature pertaining to contact, broadly conceived.Whether coming face to face with the savage Indian in the wilderness, or conversely, a white ghost, experiencing a supernatural event, or stepping onto American soil after surviving the eye Passage, the texts we read will offer compelling narratives of rupture, displacement, and deviation helping us to reflect on the various methodologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the definition of literature, our status as readers, and the way our encounter, contact, or discovery of a given text becomes literarily, culturally, and personally meaningful.Teaching Method: Discussion. ??? 15 Evaluation Method: Participation, attendance, shorter writing assignments, group blog project, and one revised paper. Texts include: Mostly fiction and poetry, including some of the following: contact narratives by Christopher Columbus and Alvar Nunez Cabeza de Vaca, selection of Native American tales and songs, including contemporary poet Leslie Marmon Silko, Mary Rowlandson’s captivity narrative, John Marrant’s conversion narrative, Phillis Wheatley’s poetry, Charles Brockden Brown’s novel Wieland, and Walt Whitman’s Leaves of Grass.WQ Section 20: Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 9:30-10:50 Course Description: Edgar Allan Poe invented the short story, the police dete ctive story, the cognition fiction story, and modern poetic theory. His stories and essays anticipate the Freudian unconscious and various forms of psychoanalytic, poststructuralist, and modern critical theory. Poe wrote a spooky novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many favorite nineteenth- century American magazines, he wrote sketches, reviews, essays, angelic dialogues, polemics, and hoaxes. This course will focus on Poes writings as a means of learning how to read and analyze a human body of literary genres, including lyric and narrative poems, the novel, the short story, detective fiction, science fiction, the essay, the literary review, and critical theory.We shall study poetic language, image, meter, and form as well as various story- telling techniques such as narrative point of view, plot, structure, language, character, repetition and recurrence, and implied audience. We shall also st udy a variety of critical approaches to reading and interpreting Poe’s writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and review article.We shall conclude by looking at the ways Poes works have been translated and adapted in a selection of contemporary films and other pop cultural forms. Teaching Method: Some lecture; mostly close- reading and discussion. Evaluation Method: 2 short essays (3-4 pages); and one longer essay (8-10 pages); in-class participation. Texts Include: Edgar Allan Poe: Poetry, Tales, and Selected Essays (Library of America); M. H. Abrams and Geoffrey Galt Harpham: A Glossary of Literary Terms (Thomson, 8thEdition); Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology (Blackwell, rev. ed. ). WQ Section 21: Songs and Sonnets Susie Phillips TTh 11-12:20 Course Description: Beginning with the sonnet craze in the late sixteenth century, this course will explore the relationship between poetry and popular culture, investigation the ways in which poets draw on the latest trends in popular and literary culture and, in turn, the ways in which that culture incorporates and transforms poetryâ€on the stage, in music, and on the screen.We will consider how poets scoop up from and respond to one another, experimenting with traditional forms and familiar themes to make the old new. In order to recognize and interpret this experimentation, we will first study those traditional forms, learning to read and interpret poetry. While we will be reading a range of poems in modern editions, we will be situating them in their social, historical, literary and material contexts, analyzing the ways in which these contexts shape our interpretation.How for example might our reading of a poem change if we encountered it scribbled in the margins of a legal notebook or posted as an advertisement on the El rather than as part of an authoritative antho logy? Teaching Method: Discussion. Evaluation Method: Two papers, short assignments, and class participation. Texts Include: Poetry by Shakespeare, Donne, Marlowe, Sidney, Spenser, Keats, Shelley, Williams, Stevens, and Eliot. WQ Section 22: Representing the Prostitute in Early Modern EnglandCarissa Harris TTh 2-3:20 Course Description: The London stage was continually populated by actors playing prostitutes, from the morality dramas of the sixteenth century to early 17th-century plays in which the prostitute takes ???? 16 center stage, such as The Dutch fancy man and The Honest Whore Part 1 and 2. Why was the figure of the prostitute particularly important to early modern English writers, and what did staging the prostitute mean for both authors and audiences?In this course we will explore how early modern English writers used the character of the prostitute to embody a variety of popular anxieties concerning female sexuality, social disorder, the continual influx of foreigners to London, the quick spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, seeking to identify what incisively representing the prostitute on stage accomplished for both authors and audiences in early modern London.We will also investigate the roles the prostitute performs in particular genres, including sarcastic love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeare’s comedy Measure for Measure, doubting Thomas Dekker’s plays The Honest Whore Part 1 and 2, Thomas Nash’s poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marston’s plays The Insatiate Countess (unfinished) and The Dutch Courtesan (selections). Teaching Method: Seminar. Evaluation Method: 2 short close-reading papers (3- 4 pp. , an in-class presentation with an accompanying paper (2 pp. ), and a final paper (5-7 pp. ). Texts include: Shakespeare, Measure for Measure (Arden Shakespeare edition); and a course reader Textbooks will be available at: Quartet Copies. SQ Section 20: Modern Poetry & Poetics: Experiments in Reading Harris Feinsod MWF 2-2:50 Course Description: This course offers an introduction to key texts and major paradigms for the reading and interpretation of modern poetry in English. The first half of the course contends with questions at the heart of the discipline of poetics: what is poetry?Is it of any use? How do poems plight figures, rhythms, sounds, and images to address problems of experience and nightspot? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to thinking? We will read â€Å"experimentally,” pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with supposititious statements of poetics by Paz, Jakobson, Agamben, Stewart, Frye and others. This will allow us to gain fluency with poetic forms and genres, and to practice the fundamentals of close reading.In the second half of the course our attention will shift from individual poems to a series of scandalously inventive collections and sequences (including Williams, Brooks, Oppen, Ginsberg, OHara, or others). We will learn to raspberry with agility between the observations of minute formal elements and big historical, performative, and transnational logics. We will continue to experiment wide and self-consciously with practices of close reading, but we will also flirt with alternatives such as â€Å"close hearing” and â€Å"wild reading. We will move between an understanding of a â€Å"text” and its social â€Å"context,” between iterative aspect â€Å"forms” and unrepeatable â€Å"performances,” between discrete â€Å"works” and the wider â€Å"networks” of poems to which they belong. At the conclusion of the course, we will begin to speculate about the future of poetry and poetics in the new media surround of the 21st century. Teaching Method: Lecture and discussion. Evaluation Method: frequent short writing assignments, one ~10 page paper, one in-class presentation. Careful set and participation is crucial.Texts include: Individual poems and collections by Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound, Eliot, Williams, Bishop, Ginsberg, and others; criticism by Agamben, Adorno, Culler, de Man, Frye, Greene, Jakobson, Ramazani et. al. ; Brogan, The New Princeton Handbook of Poetic Terms. This list is subject to change, contact me for the syllabus during enrollment. Texts available at: Beck’s Bookstore SQ Section 21: fitting John Alba Cutler TTh 11-12:20 Course Description: This seminar will examine literary adaptation as a way to approach questions of reading, interpretation, genre, and literary culture.Literary works have much to teach us about the act of reading itself, especially when those works adapt some other source material and in the process ??? 17 interpret it. The process of adaptation into poetry or fiction foregrounds how literary texts make meaning. fitting will thus provide us a framework for studying basic concepts from poetics, including meter, rhyme, and form, as well as from narratology, including point of view, characterization, plot, and narrative temporality. We will consider literary adaptation from a variety of perspectives: what choices do writers make when creating a work of fiction from historical records?Or a play from a poem? How have poets from the Early Modern period to the present used sources as various as the Bible and visual art as inspiration? What do all of these adaptations teach us about how literature compares to other forms of cultural production? The seminar will end by considering what happens when a canonical work of American literature, F. Scott Fitzgerald’s The Great Gatsby, becomes the subject of adaptatio n and re-adaptation. Teaching Method: Discussion Evaluation Method: Quizzes, short essays. Texts include: Poems by John Milton, W. H.Auden, Langston Hughes, and Frank O’Hara; â€Å"Benito Cereno,” by Herman Melville; A Raisin in the Sun, by Lorraine Hansberry; and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22: umpteen Faces of knightly Fiction Sarah Lahey TTh 3:30-4:50 Course Description: The wreak of the Screw has famously been interpreted as both a ghost story and a psychological drama. Some claim it is a novella about supernatural events, and others argue it revolves around a crazy governess suffering hallucinations. As a genre, gothic literature inspires an unusually diverse range of critical reactions.Yet, how many ways can we accurately read the same story? What prompts one form of criticism over another? What are the stakes of choosing to read a story in a particular way? These questions will drive our discussion as we examine classic works of gothic fiction in the British tradition from the 18th and 19th centuries. We also will pair each immemorial text with an excerpt of literary theory or criticism. Our aim is to understand the practice of literary criticism, while at the same time enjoying the thrills †and horrors †of gothicism’s most famous creations.Teaching Method: Discussion Evaluation Method: In-class presentation, two short papers (4-5 pages), and one longer paper (6-8 pages). Texts include: The Castle of Otranto (1764); Confessions of a warrant Sinner (1824); Strange Case of Dr. Jekyll and Mr. Hyde (1886); Dracula (1897); and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-12:20 Fall Quarter Course Description: obtain you ever noticed that, unlike many other languages, English often has two different name calling for the same animal?These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered En gland and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the Conqueror and cows and pigs and sheep became screech and pork and mutton †at least when they were served up to the Normans at their banquets. Like many other high-falutin’ lyric poem in English, these names for different kinds of meat all derive from French.As long as the animals remained in the barnyard, however, be cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will investigate this and many other milestones in the history of the English language, focusing on the period from the Middle Ages through the eighteenth century. We will pay particular attention to the relationship between language and power, and to the ways people in these periods conceived of their own language(s) in relation to others.This class will also help you to develop a more sensit ive understanding of the English language that you can bring to other classes and to life in general. Have you ever thought about analyzing a poem †or a political speech †in terms of which words come from Latin, which from French, and which from Old English? Teaching Method: Mostly discussion, with some lecture. Evaluation Method: Quizzes, a midterm exam, and a final exam, plus a couple of short papers and an oral report. Texts Include: David Crystal, The Stories of English; a course reader. ?? 18Texts available at: Beck’s Bookstore and Quartet Copies NOTE: This course fulfills the English Literature major Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing: Theory and Practice of Poetry Translation Reg Gibbons MW 2-3:20 Spring Quarter Course Description: A combining of seminar and workshop. Together we will translate several short poems and study theoretical approaches to literary translation and practical accounts by literary translators. We wi ll approach language, poems, poetics, culture and theoretical issues and problems in relation to each other.Your written work will be due in different forms during the course. In your final portfolio, you will present revised versions of your translations and a research paper on translation.. Prerequisite: A reading knowledge of a second language, and experience reading literature in that language. If you are uncertain about your qualifications, please netmail the instructor at to describe them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method: Discussion; group critique of draft translations; oral presentations by students.Evaluation Method: Written work (â€Å"blackboard” responses to reading, draft translations, revised translations, and final papers) as well as class participation should demonstrate students’ growing understanding of translation as a practice and as a way of reading poetry an d lovely with larger theoretical ideas about literature. Texts include: Essays on translation by a number of critics, scholars and translators, in two published volumes and on the Course anxiety web site (â€Å"blackboard”). ENG 307 CROSS-GENRE Advanced Creative Writing: Finding a Place Goldie Goldbloom TTh 12:30-1:50 Fall QuarterCourse Description: Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what remains with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The schoolmaster of the Rings be like without Middle Earth, Charlottes Web without the farmyard, To Kill a Mockingbird without Maycomb, Alabama? We will be examining setting in our own work and in the work of published writers, to determine what it adds to the dreamscape of a story, and how it can be manipulated to express hidden emotion.This is a workshop class, and you will be expected to br ing in your own writing for analysis and critique. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. This course may be used toward the inter-disciplinary minor in creative writing. Texts include: The Street of Crocodiles, Bruno Schulz, 978-0-14018625-5; Nadirs, Herta Muller, 978-0-80328254-4; Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2; Being Dead, Jim Crace, 978-0-31227542-6; The Woman in the Dunes, Kobo Abe, 978-0-67973378-2; Bastard forth of Carolina, Dorothy Alison; Lord of the Rings, J.R. R. Tolkein ENG 307 Advanced Creative Writing: fabulous Fiction Stuart Dybek TTh 12:30-1:50 FICTION Winter Quarter Course Description: Fabulous Fictions is a writing class that focuses on writing that departs from realism. very much the subject matter of such writing explores states of mind that are referred to as non- ordinary reality. A wide variety of genres and subgenres fall under this heading: fabulism, myth, female monarc h tales, fantasy, science fiction, speculative fiction, horror, the grotesque, the supernatural, surrealism, etc.Obviously, in a guileless quarter we could not hope to study each of these categories in the kind of detail that might be found in a literature class. The aim in 307 is to discern and employ writing techniques that rule these various genres, to study the subject through doingâ€by writing your own fabulist stories. We will be read examples of ? 19 fabulism as writers read: to understand how these fictions are madeâ€studying them from the inside out, so to speak. Many of these genres overlap. For instance they are all rooted in the tale, a kind of story that goes back to primitive sources.They all speculate: they ask the question What If? They all are stories that demand figure, which, along with the word transformation, will be the key terms in the course. The intention might be a monster, a method of time travel, an alien world, etc. but with rare exception the s tory will demand an invention and that invention will often also be the central image of the story. So, in discussing how these stories work we will also be learning some of the most basic, primitive moves in storytelling.To get you going I will be bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrancesâ€your rabbit holes and magic doorwaysâ€into the figurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. likewise the exercises, two full-length stories will be required, as well as written critiques of one another’s work. Because we all serve to make up an audience for the writer, attendance is mandatory. Prerequisites: Prerequisite English 206.No P/N registration. Attendance at first class is mandatory. addition to our readings and discussions of published fiction, we will spend time workshopping your own stories. Dependent on time, e ach student will have their creative prose workshopped twice. ENG 307 CROSS-GENRE Advanced Creative Writing: Cross-Genre Experiments Mary Kinzie TTh 2-3:20 Spring Quarter Course Description: A creative writing course for any undergraduate who has taken at least two of the Reading & Writing prerequisites (poetry and one prose course).We will explore the intermingle of prose with poetry in genres such as the â€Å"lyric essay” as well as the insertions of prose into works by poets; the blending of narrative with visual art (as in Donald Evans’s series of stamps\r\n'