English William Shakespeare

? slope NOTES 2012-2013 Advising and Pre alteration ONLY decl ard side major(ip)(ip)s (who strike form all toldy declargond their major by Monday, April 30th) may preregister for side kines via the web on Monday, May 7th during their registration appointment dates match to the following schedule The last day to add a mark for Fall rear end is Friday, September 7th. The last day to drop a dissever for Fall puff is yet to be determined. PLEASE NOTE The Registrar has indicated that students may preregister for a maximum of ii lineages in any maven dep prowessment.Students raft sign up for additional menstruates in that de bulgement during regular mature registration. Information Sources When you decl ar, the downstairsgraduate program assistant automatically signs you up for the depgraphicsmental listserv. Consult your email on a regular footing for announcements rough upcoming deadlines and special events. Additional information is posted in University Hall, published in the WCAS mainstay in the Daily Northwestern, and posted on the side part web page at uniform resource locator www. english. northwestern. edu. Also, up-to-date information on curriculums nominate be found on the Registrars home page at http//www. registrar. northwestern. du/ intercommunicate the side of meat Department Northwestern University Department of English 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http//www. english. northwestern. edu/ emailprotected edu 1 ?ENGLISH NOTES 2012-2013 Applications for the following are available early spring quarter done either the English spot in University Hall 215 or the departmental website at www. english. northwestern. edu Annual Writing Competition The English Department bequeath be conducting its annual constitution competition effluence poop, with prizes to be awarded in the categories of essay, fiction, and metrical composition.Announcements about particular(prenominal) prizes, eligibil ity and leniency add be available in the English office by April 1st. The following rules consecrate 1) Students may not enter competitions for which they are not eligible. 2) Students may submit only one proceed per genre. 3) The maximum length for essay and fiction manuscript is 20 pages the maximum length for a song manuscript is 10 pages or 3 poesys. Students should submit only one copy of all(prenominal) unravel. The deadline for submission of manuscripts for the 2012 contest is Thursday, May 3rd by 300pm. Awards leave be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined.A reception testament follow. books Major 399 Proposals singular projects with faculty guidance. Open to majors with junior or senior standing(a) and to senior minors. Students interested in carry outing for independent count in literary deeds during spring quarter should descry the potential adviser as soon as possible. Guidelines for 399 are available in UH 215 and on the English webpage. Writing Major Honors Proposals Writing majors should apply for Honors in the spring of their junior division. The department pass on have application forms available early spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined. literature Major 398 Honors Applications Literature 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 Professor Paul Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 430pm. Declaring the Major or Minor In the past, in format to declare the English Major or Minor, students needed to complete prerequisites. necessarys are no longish necessitate to declare the Major or Minor.To declare the Major or Minor, pick up the appropriate settlement form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated office hours. At this point, the neoistic major leave choose a Departmental Advisor and become eligible for English preregistration in deliver the goods quarters. WCAS policy requires instructors to return student forge in person or by mail. Student exertion is not to be kept in the departmental office, nor is it to be distri anded in any public place. ** monitor to Seniors Seniors who have not yet filed their Petitions to Graduate must do so immediately. A Calendar of persist Offerings Taught by English Department Faculty * track times and billet descriptions are assailable to interchange without notice. 105 Expository Writing 205 Intermediate Composition 206 teaching & Writing poesy MW 930-1050 Webster MWF 11-1150 Curdy MWF 1-150 Kinzie MWF 2-250 Curdy TTh 930-1050 Goldbloom MWF 10-1050 Bresland MW 930-1050 Webster MW 330-450 Curdy TTh 1230-150 Altman TTh 2-320 Breslin MW 11-122 0 Seliy MW 1230-150 Donohue TTh 930-1050 Goldbloom TTh 1230-150 Goldbloom MW 930-1050 Bouldrey TTh 930-1050 Bresland TTh 2-320 Bresland MWF 1-150 Lane (210-2)MWF 1-150 Gibbons MW 330-450 Curdy MWF 11-1150 Webster MW 11-1220 Seliy TTh 1230-150 Goldbloom MW 930-1050 Biss MWF 2-250 Webster TTh 930-1050 Kinzie TTh 11-1220 Bouldrey MWF 11-1150 Soni (210-1) 207 Reading & Writing simile 208 Reading & Writing notional Non Fiction 210-2,1 English literary Traditions (Additional new-sprung(prenominal)sworthiness member Required) FALL WINTER SPRING Several incisions Offered to each one nates Several personas Offered Each Quarter ? 3 211 212 213 220 Gender Studies 231 234 270-1,2 273 275 298 302 306 307 entering to numbers (Additional countersign Section Required) Introduction to DramaIntroduction to Fiction (Additional Discussion Section Required) The Bible as Literature (Additional Discussion Section Required) Gender Studies Introduction toShakespeare (Additional Discussion Secti on Required) the Statesn literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American Literature (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Seminar in Reading and rendering Hi bosh of the English Language Advanced rhyme Writing Advanced Creative Writing MWF 11-1150 Gottlieb FALL WINTER SPRING TTh 930-1050 Phillips MWF 12-1250 Erkkila (270-1)MW 1230-150 Kim MWF 11-1150 Grossman TTh 930-1050 Thompson TTh 330-50 Roberts TTh 11-1220 Breen TTh 1230-150 Goldbloom MWF 12-1250 N. Davis MWF 2-250 Feinsod TTh 11-1220 Cutler TTh 330-450 Lahey MW 2-320 Gibbons TTh 2-320 Kinzie TTh 11-1220 Froula MWF 11-1150 Thompson MWF 12-1250 Stern (270-2) TTh 930-1050 Erkkila TTh 11-1220 Phillips TTh 2-320 Harris TTh 1230-150 Dybek TTh 330-450 penetrate MWF 1-150 Manning MWF 10-1050 sensitiveman ?4 311 Studies in Poetry 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 rebirth Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration & 18th Century Literature 353 Studies in amative Literature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-1150 Passin TTh 330-450 Hedman TTh 4-520 Schwartz TTh 1230-150 Harris TTh 1230-150 Roberts TTh 2-320 Thompson TTh 2-320 legality TTh 11-1220 Feinsod MW 930-1050 T. Davis MWF 10-1050 Breen MWF 11-1150 Newman TTh 930-1050 Masten TTh 11-1220 Evans TTh 2-320 Grossman/Soni TTh 930-1050 Soni MW 330-450 Lane MW 11-1220 WeheliyeMW 330-450 Hedman MW 930-1050 washbasinson MWF 1-150 Newman TTh 330-450 Harris MW 11-1220 West MW 330-450 Evans TTh 1230-150 Harris TTh 2-320 Sucich TTh 11-1220 Roberts TTh 11-1220 Lane TTh 1230-150 Lahey TTh 930-1050 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American Novel 37 2 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in possible action and Criticism 385 Topics in have Studies 386 Studies in Literature and Film 393- Theory & Practice of Poetry FW/TS 394- Theory & Practice of Fiction FW/TS 95- Theory & Practice of FW/TS Creative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 1230-150 Hedman TTh 4-520 Mwangi TTh 2-320 Mwangi MWF 11-1150 Lahey MWF 2-250 Grossman MWF 10-1050 Bouldrey TTh 330-450 Weheliye MWF 1-150 Leong MW 330-450 Leahy MW 1230-150 Webster MW 1230-150 Bouldrey MW 1230-150 Bresland W 3-5 Breslin MWF 11-1150 Hedman MW 1230-150 Passin TTh 1230-150 Cross MW 330-450 Stern TTh 2-320 Erkkila MWF 1-150 Cutler MW 2-320 Roberts TTh 1230-150 Lahey MW 2-320 Froula TTh 2-320 N. Davis TTh 330-450 Leong MW 1230-150 Webster/Curdy MW 1230-150 Bouldrey/SeliyMW 1230-150 Bresland/Bouldrey W 3-5 Breslin MW 930-1050 diBattista MW 1230-150 Passin TTh 11-1220 Froula T 6-820 diBattista TTh 330-450 Cutle r MWF 10-1050 smith TTh 1230-150 Savage MWF 2-250 Soni MWF 1-150 Breslin MWF 11-1150 Feinsod MW 1230-150 Curdy MW 1230-150 Seliy MW 1230-150 Biss FALL WINTER SPRING ?6 399 Independent pick out SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 necessity to English Major in Writing Reading & Writing Poetry chassis verbal description An introduction to the major forms of poetry in English from the dual perspective of the poet-critic.Creative lay down lead be depute in the form of poems and revisions analytic writing cater be assigned in the form of critiques of an virtually other(prenominal)(a) members poems. A scansion exercise impart be given early on. all(a) of these exercises, productive and expository, as swell as the required indicants from the Anthology, are designed to help students increase their understanding of poetry rapidly and profoundly the more(prenominal) wholehearted students partnership, the more they testament learn from the lin e of work. Prerequisites No prerequisites. No P/N registration. Attendance of first syndicate is mandatory. flux especially recommended for prospective Writing major. Literature Majors too welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. command order Discussion one- half(a)(prenominal) to two-thirds of the trackes entrust be devoted to pass onword of occupyings and principles, the other classes to discussion of student poems. valuation mode Evidence given in indite work and in class participation of students understanding of poetry improvement will conceive for a great mess with the instructor in estimating achievement.Texts entangle An Anthology, a full of life guide, 206 Reader lively by the instructor, and the work of the other students. Prerequisite to English Major in Writing Reading & Writing Fiction cross commentary A takeing and writing melodic line in dead fictio n. Students will memorialize widely in usanceal as well as experimental unretentive stories, seeing how writers of different cultivation and temperament use conventions such(prenominal)(prenominal) as plot, character, and techniques of voice and distance to plaster cast their art.Students will also receive intensive employ in the craft of the short story, writing at least one story, along with revisions, short exercises, and a particular pack of at least one work of fiction, concentrating on technique. Prerequisites English 206. No P/N registration. Attendance of first class is mandatory. flux especially recommended for prospective Writing Majors. Literature Majors also welcome. command manner Discussion of meter denotations and principles workshop of student drafts. rating regularity Evidence given in create verbally work and in class participation of students growing understanding of fiction improvement will count for a great deal with the instructor in estimating achievement. Texts include Selected short stories, essays on craft, and the work of the other students. Fall Quarter Rachel Webster Averill Curdy Mary Kinzie Averill Curdy winter Quarter Rachel Webster Averill Curdy Toby Altman Paul Breslin natural spring Quarter Reg Gibbons Averill Curdy Rachel Webster ENG 207 MW 930-1050 MWF 11-1150 MWF 1-150 MWF 2-250 MW 930-1050 MW 330-450 TTh 1230-150 TTh 2-320MWF 1-150 MW 330-450 MWF 11-1150 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 Winter Quarter Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter Shauna Seliy Goldie Goldbloom TTh 930-1050 MW 11-1220 MW 1230-150 TTh 930-1050 TTh 1230-150 MW 11-1220 TTh 1230-150 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 agate line rendering An introduction to some of the umteen possible voices, styles, and struct ures of the creative essay.Students will read from the full aesthetic breadth of the essay, including memoir, meditation, dustup essay, and literary journalism. Discussions will grapple how the essay creates an artistic space distinct from the worlds of poetry and 8 fiction, and how truth and detail function inside creative nonfiction. Students will be claimed to analyse the readings closely, and to write six short essays base on imitations of the style, structure, syntax, and communicatory devices found in the readings. Students can also expect to do some picture 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 also welcome. Teaching system 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 degenerate the semi policy-making projects embedded in these texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will consider how Copernican it is to understand these texts from a policy-making erspective, and wonder why this perspective is so oftentimes ignored in favor of psychologizing and proceedsivizing readings. Teaching Method Two lectures per week, plus a required discussion section. Evaluation Method Regular reading quizzes (15%) class participation (25%) midterm exam (20%) net exam (20%) final paper (20%). Texts include Beowulf Mystery Plays Chaucer, Canterbury Tales More, Utopia Sidney, falsifying of Poesy Shakespeare, Tempest and selected sonnets Milton, Paradise Lost Behn, Oroonoko Swift, Gullivers Travels. ENG 210-2 English Literary Traditions Christopher LaneMWF 1-150 Winter Quarter Course commentary English 210-2 is an En glish Literature major requirement it is also designed for non-majors and counts as an landing field VI WCAS distribution requirement. This cast is a chronological survey of important, representative, and highly enjoyable British works from Romanticism to the ultra mod accomplishment (roughly the French Revolution to the First World War). Focusing on poetry, drama, essays, and several short wises, well take in compelling themes, styles, bunkments, and cultural arguments, paying particular attention to the way literary texts are located in history.For perspective, the short letter also tackles several comparative issues in nineteenth-century art and dexterous history, excludeing on such large-scale themes as tensions between individuals and communities, the narrative fate of women and men, and the vexed, uncertain persona of authors as commentators on their genial contexts. An overview of English literary history and its traditions during a fascinating century, English 21 0-2 provides exquisite training in the analysis of fiction. Teaching Method Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). deception Bresland Winter Quarter Brian Bouldrey fast one Bresland John Bresland Spring Quarter Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-1050 MW 930-1050 TTh 930-1050 TTh 2-320 MW 930-1050 MWF 2-250 TTh 930-1050 TTh 11-1220 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ENG 210-1 English Literary Traditions Vivisvan Soni MWF 11-1150 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 pass over is an introduction to the early English literary canon, extending from the late medieval period through the eighteenth century. In addition to gaining a general familiarity with some of the most exacting texts of Engli sh literature, we will be especially interested in discovering how literary texts construct, engage in and transform political discourse. What kinds of political intervention are literary texts capable of making? What are the political implications of particular rhetorical strategies and generic choices? How do literary texts encode or allegorize particular political questions?How, at a particular historical ? 9 Evaluation Method Two short analytical paper one final essay performance in discussion section final exam. Texts include The Norton Anthology of English Literature The Major Authors (8th edition volume B) Jane Austen, Sense and Sensibility (Penguin) Charles Dickens, Hard Times (Norton) Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy new or used copies of the editions specified. Texts available at The Norris Center Bookstore. ENG 211 Introduction to Poetry The Experience and Logic of Poetry Susannah Gottlieb MWF 11-1150 Fall QuarterCourse description The puff lov e of poetry can be understood in it at least two radically different shipway as a raw encounter with something st puke 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 present day have grappled with these two dimensions of the poetic experience. In order to understand a poem, a reader must, in some sense, enter into its unique and multiform logic, while nevertheless rest break to the sometimes unsettling ways it can surprise us.In this class, we will read some of the greatest actors line poems written in English, as we systematically develop an understanding of the formal 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 surgical procedu re. Teaching Method take to tasks and hebdomadary discussion groups. Evaluation Method Three written document (5-7 pages), weekly exercises, active participation in section discussions, and a final exam.Texts include The Norton Anthology of Poetry. ENG 212 Introduction to Drama forward-lookingism in Performance Susan Manning MWF 1-150 Spring Quarter Course Description This survey course follows the emergence of modernism in diverse genres of theatrical performancedrama, dance, cabaret, and music theatre. In capital of the United Kingdom, Paris, Berlin, and New York, new theatrical commits 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 Evaluation Method three short papers and a take- home final exam. Texts include Noel Witt s, ed. , The Twentieth- Century Performance Reader (3rd edition) Gunter Berghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction Worlds in a Grain of Sand Christine Froula TTh 11-1220 Winter Quarter Course Description What is fiction? How is it different from history, biography, nonfiction?How and why do people invent and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course well take aim a selection of put on narratives from around the globe and from different historical moments, in a variety of prose and verse formsshort story, novella, novel, myth, story cycle, serialand in visual and aural as well as literary media ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound put it, literature is news that stays news, well consider how these put on works bring news from near and far.Well think about the traditions, and occasions of storytelling, the narrators who convey t hem, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one another, as well as to audiences and communities within and across finales. Well consider whether and how each works historical origin and context may light up ? 10 the situation and conflict it depicts and how its point of view, narrative voice, techniques of character- authorizeing, plot, imagery, dialogue, style, beginning and end help shape our questions and variations.As we gustation some of the rarest and ripest fruit of art which human thought has to offer, in Nabokovs words, well seek to develop skills and cognisance that will deepen our pleasure in the inexhaustible riches of imaginative literature. Teaching Method Lecture and Discussion Evaluation Method Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include Texts and course packet TBA. Texts include Bible, New Revised Standard Version (NRSV) with apocrypha (Oxf ord U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender StudiesFeminism as heathen Critique Helen Thompson MWF 11-1150 Winter Quarter Course Description In this class, we will consider the origins and on-going powers of feminism as a critique of coating. At its origins in the 1790s through the middle of the twentieth century, modern Western feminism fought on two fronts, condemning womens legal and political disenfranchisement as well as more subtle practices and norms, same the wearing of corsets, that shored up womens subordinate status at the level of cursory life.In this class, we will explore feminism in America subsequently the legal and political battle has, to some extent, been won well pick up the so-called second wave of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical leg of the feminist movement dedicated its censorious energies to problems that persisted beyond womens nominal political and legal enfranchisement.By disrupting every day institutions like the Miss America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate just as strongly as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic merchandise, in this class we will encounter a variety of media academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries.An ongoing tendency of the class will be to explore the full of life 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 begin by looking at part of Simone de Beauvoirs The Second Sex (French, 1949 English, 1953) to examine how its foundational take in that one is not born, but kind of becomes, a woman invites us to analyze culture rather than nature. The remainder of the class is broken into units.Unit One, Beauty, includes the infotainment Miss . . . or Myth? (1987) on the Miss American pageant and its feminist re- present, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of womens looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, Housework/ Domesticity, covers important texts on womens lives at home (The Politics of Housework, The ENGLISH 220 The Bible as Literature Barbara Newman MWF 10-1050 Combined w/ CLS 210 Spring QuarterCourse Description This course is intended to familiarize literary students with the most influential text in Western culture. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres and strategies in the Bible the historical situation 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 Old Testament (or Hebrew B ible) 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 dis act upon 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 translation traditional strategies of interpretation (such as midrash, typology, and harmonization) and the historical processes involved in constructing the Biblical canon.Teaching Method Three lectures, one discussion section per week. Evaluation Method Two mid toll and final exam, each worth 25% of grade participation in sections occasional response papers some interactive discussion during lectures. ?11 Personal is Political, Why I regard a Wife, and others) we will examine one mainstream reaction to the feminist critique of domestic labor, Ira Levi ns horror novel and adapted film The Stepford Wives.Unit Three, Sex, will look at second-wave feminist challenges to both the social and anatomical determinants of eroticism and pleasure (The Myth of the Vaginal Orgasm, Sex and the Single Girl, 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 womens sexual desire and agency.In the course of this comparison, well take up the issue of rape, or 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 bounceed the concerns of only discolour middle-class women (bell hooks, Aint I A Woman? ). Unit Four of the class will look at feminist cultural production. Well look at avant-garde art (short films include Carolee Schneemans Meat Joy, Martha Roslers Semiotics of the Kitchen, and other videos, images, and performances) and artistic provocations (like Valerie Solanas, The S.C. U. M. Manifesto) to consider how these texts challenge high art and cultural values down to the present day. Macbeth, Henry V, Anthony and Cleopatra, Measure for Measure, and The Tempest. Teaching Method Lectures with Q required weekly discussion section. Evaluation Method Attendance and section participation, two papers, midterm, final exam. Texts include The required school text is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at Norris Center Bookstore. ENG 234Introduction to Shakespeare Susie Phillips TTh 930-1050 Fall Quarter Course Description What spooks America? From the Puritan city upon a Hill, to Tom Paines Common Sense, to Emersons 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 Gothic in the Age of Reason, to Melvilles Moby Dick, American literature has been followed by fantasies of terror, sin, violence, and apocalypse.Why? This course will seek to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a break ones back narrative, we shall seek to identify and understand the significance of the terrorsof the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypsethat haunt and spook the origins and instruction of American literature.Students will be encourage to draw connections between past American fantasies and fears and modern popular culture and politics, from classic American films like Hitchcocks Psycho to The Hunger Games, from American blues and jazz to Michael Jacksons Thriller, from the Red Scare and the Cold War to the war on terror. Teaching method Lecture and discussion weekly discussion sections. Evaluation Method 2 papers quizzes fi nal examination.Texts Include The Norton Anthology of American Literature Beginnings to 1820 (Volume A 8th edition) Charles Brockden Brown, Edgar Huntly or Course Description This course will introduce students to a range of Shakespeares comedies, tragedies, histories and romances. During the quarter, we will be considering these contacts in their Early fresh contextcultural, political, literary and theatrical. We will focus centrally on matters of performance and of text.How is our interpretation of a play shaped by Shakespeares various texts his stories and their histories, the works of his contemporaries, the latest literary fashions, and the various 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 fresh cinematic versions of the plays, and w e 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 Ado About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions What Spooks America? Betsy Erkkila MWF 12-1250 Fall Quarter ?12 Memoirs of a Sleep-Walker Ralph Waldo Emerson, Selected Writings Edgar Allan Poe, Great Short whole kit and boodle Frederick Douglass, The Narrative of Frederick Douglass Nathaniel Hawthorne, The Scarlet Letter Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit.Nick Davis MWF 12-1250 Spring Quarter Course Description This course aims to draw English majors and non-majors alike into a substantive, wide-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 America, both as a nation and as a notion, deepened and ransformed over time by new ideas about language, 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 incite 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 language, 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 Faulkners As I come in Dying Marita Bonners The Purple Flower Nathanael Wests Miss Lonelyhearts Don DeLillos pureness Noise Suzan-Lori Parkss The America Play and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-1250 Winter Quarter Course Description This course is a survey of American literature from the decade predate the Civil War to 1900.In lectures and discussion sections, we shall explore the divergent textual voices white and black, male and female, poor and rich, slave and free that constitute the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions What does it mean to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the calamity and the triumph of the Civil War inflect American poetry and narrative?And how do post- bellum writers represent the complexities of democracy, curiously the gains and losses of Reconstruction, the advent of and resistance to the 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 studen ts will perform a close reading of a literary passage from one of the texts on the course of instruction a final examination, involving short answers and essays and active participation in section and lecture. Texts include Herman Melville, Bartleby,Scrivener Harriet Wilson, Our Nig Rebecca Harding Davis, Life in the Iron Mills Harriet Jacobs, Incidents in the Life of a Slave Girl Emily Dickinson, selected poems Walt Whitman, Song of Myself and other selected poems lay out 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 1230-150 Fall Quarter Course Description This course examines literature, film, and critica l theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how Asian American literature and theory engages themes and questions in literary studies, particularly related to questions of race, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies.For example, how does Carlos Bulosan draw on tropes and images of 1930s 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 indicate empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of WWII? Thus we are also training 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 contested category of ethnic and national identity we will consider how Asian American literatures and cultures 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 concentration to crafting new modes of ritique highlighting Asian Americas 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 Include Carlos Bulosan, America is in the Heart, University of majuscule Press, 1974 Don Lee, Country of Origin, W. W.Norton and Company, 2004 Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990 Jhumpa Lahiri, Interpreter of Malad ies, Mariner Books, 1999 Susan Choi, Foreign Student, harpist Collins, 1992 John Okada, No-No Boy University of Washington Press, 1978 A required reader is available from tetrad 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 relation 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 contents will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active instruction 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 thinking.Prerequisites One quarter of 210 or 270. Note First class mandatory. No P/N registration. This course does NOT fulfill 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 11-1150 TTh 930-1050 TTh 330-450 TTh 930-1050 TTh 11-1220 TTh 2-320 MWF 2-250 TTh 11-1220 TTh 330-450 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20Section 20 Section 21 Section 22 Literary Study Coming to Terms Jay Grossman MWF 11-1150 Course Description This seminar will introduce you to some of termsand 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 waysto t hink about what the 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 approach 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 meaning? why study it? ) and readers (who are we? what is our relation to the text and its meanings? what does reading entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method broadly mouth discussion. Evaluation method Mandatory attendance and active participation. Shorter papers, some of them revised, and one long-lived final paper. No exams. Texts Include Mostly fiction and poetry, including some of the following Walt Whitman, Leaves of Grass Emily Dickinsons poetry Elizabeth Bishop, Geography III Michael Chabon, The Mysteries of Pittsburgh Henry Blake Fuller, Bertram Copes Year Critical Terms for Literary Study (eds.Lentricchia and McLaughlin second edition). FQ Section 21 Romanticism and Criticism Helen Thompson TTh 930-1050 Course Description This seminar pairs a series of key texts in the history of critical thought with canonical fiction and poetry of the Romantic era. Youll learn about critical movements psychoanalysis, Marxism, feminism, and post- structuralism or deconstructionby testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the class proceeds, youll 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 struggle, 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?Well pair Karl Marxs Communist Manifesto and William Blakes Songs of Innocence and Songs of Experience Sigmund Freuds The Interpretation of Dreams and Mary Shelleys Frankenstein William Wordsworths Lyrical Ballads and key essays in Jacques Derridas theory of deconstruction and Jane Austens Pride and Prejudice and Simone de Beauvoirs 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, youll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your custody of not only the substantive claims 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, well 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, well think about their historical roots in the Romantic era and ponder the still imperative critical possibilities they open for us today. Teaching Method Seminar. Evaluation Method TBA FQ Section 22 Contact Wendy Roberts TTh 330-450 Course Description European contact with the new world initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it means to be American can be say 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 primitive. In many ways, the rich metaphor of contact is helpful for thinking about literary methodologies, which often attempt to make strange, at the same time that they attempt to understand, a given text. This course will introduce 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 Middle Passage, the texts we read will offer compelling narratives of rupture, displacement, and recreation helping us to reflect on the various methodologies literary studies offers for interpret 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.Tea ching Method Discussion. 15 Evaluation Method get aroundicipation, 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 Rowlandsons captivity narrative, John Marrants conversion narrative, Phillis Wheatleys poetry, Charles Brockden Browns novel Wieland, and Walt Whitmans Leaves of Grass.WQ Section 20 Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 930-1050 Course Description Edgar Allan Poe invented the short story, the detective story, the science 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 a nd several volumes f poetry and short stories. As editor or contributor to many popular nineteenth- century American magazines, he wrote skand so forthes, 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 variety 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 study a variety of critical approaches to reading and interpreting Poes writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and criticism.We shall conclude by looking at the ways Poes work s have been sayd 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 11-1220 Course Description Beginning with the sonnet craze in the late sixteenth century, this course will explore the family between poetry and popular culture, investigating 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 poetryon the stage, in music, and on the screen.We will consider how poets borrow 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 anthology? 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 2-320 Course Des cription The London stage was revenantly populated by actors playing prostitutes, from the morality dramas of the 16th century to early 17th-century plays in which the prostitute takes 16 center stage, such as The Dutch Courtesan and The Honest Whore separate 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 rapid spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, pursuit to identify what precisely 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 satirical love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeares comedy Measure for Measure, Thomas Dekkers plays The Honest Whore Part 1 and 2, Thomas Nashs poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marstons 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 2-250 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 o f the course contends with questions at the heart of the discipline of poetics what is poetry?Is it of any use? How do poems employ figures, rhythms, sounds, and images to address problems of experience and society? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to thinking? We will read experimentally, pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with theoretical 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 shuttle with agility between the observations of hour formal elements and larger historic al, performative, and transnational logics. We will continue to experiment widely and self-consciously with practices of close reading, but we will also flirt with alternatives such as close listening and wild reading. We will move between an understanding of a text and its social context, between iterative forms and unrepeatable performances, between distinguishable works and the wider 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 environment of the 21st century. Teaching Method Lecture and discussion. Evaluation Method frequent short writing assignments, one 10 page paper, one in-class presentation. Careful preparation 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 plan during enrollment. Texts available at Becks Bookstore SQ Section 21 Adaptation John Alba Cutler TTh 11-1220 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. Adaptation 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 f iction 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 Fitzgeralds The Great Gatsby, becomes the subject of adaptation and re-adaptation. Teaching Method Discussion Evaluation Method Quizzes, short essays. Texts include Poems by John Milton, W. H.Auden, Langston Hughes, and Frank OHara Benito Cereno, by Herman Melville A Raisin in the Sun, by Lorraine Hansberry and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22 Many Faces of Gothic Fiction Sarah Lahey TTh 330-450 Course Description The Turn of the Screw has gorgeously 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 bugger off 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 primary 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 gothicisms 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 Justified Sinner (1824) Strange causal agency of Dr. Jekyll and Mr. Hy de (1886) Dracula (1897) and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-1220 Fall Quarter Course Description Have you ever noticed that, unlike many other languages, English often has two different names for the same animal?These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered England and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the vanquisher and cows and slovenly persons and sheep became beef and pork and mutton at least when they were served up to the Normans at their banquets. Like many other high-falutin words in English, these names for different kinds of meat all derive from French.As long as the animals remained in the barnyard, however, being cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will i nvestigate this and many other milestones in the history of the English language, focus 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 sensitive 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 Becks Bookstore and Quartet Copies NOTE This course fulfills the English Literature major Theo ry requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing Theory and Practice of Poetry reading Reg Gibbons MW 2-320 Spring Quarter Course Description A combination 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 will 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 look 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 e-mail the instructor at to absorb them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method Discussion group criti que of draft translations oral presentations by students.Evaluation Method Written work (blackboard responses to reading, draft translations, revised translations, and final papers) as well as class participation should face students growing understanding of translation as a practice and as a way of reading poetry and engaging 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 Management web site (blackboard). ENG 307 CROSS-GENRE Advanced Creative Writing Finding a Place Goldie Goldbloom TTh 1230-150 Fall QuarterCourse Description Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what stiff with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The Lord of the Rings be like without Middle Earth, Charlottes Web without the farmyard, To Kil l 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 say hidden emotion.This is a workshop class, and you will be expected to bring 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 as well 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 Out of Carolina, Dorothy Alison Lord of the Rings, J.R. R. Tolkein ENG 307 Advanced Creative Writing Fabulous Fiction Stuart Dybek TTh 1230-150 FICTION Winter Quarter Course Description Fabulous Fictions is a writing class that focuses on writing that departs from realism. Often 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, fairy tales, fantasy, science fiction, speculative fiction, horror, the grotesque, the supernatural, surrealism, etc.Obviously, in a mere quarter we could not consent 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 overarch these various genres, to study the subject through doingby writing your own fabulist stories. We will be read examples of ? 19 fabulism as writers read to understand how these fictions are madestudying 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 th e question What If? They all are stories that demand invention, which, along with the word transformation, will be the key terms in the course. The invention might be a monster, a method of time travel, an alien world, etc. but with rare exception the story 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 speech in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrancesyour rock rabbit holes and magic doorwaysinto the figurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. Besides the exercises, two full-length stories will be required, as well as written critiques of one anothers work. Because we all serve to make up an audience for the writer, attendance is mandator y. 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, each student will have their creative prose workshopped twice. ENG 307 CROSS-GENRE Advanced Creative Writing Cross-Genre Experiments Mary Kinzie TTh 2-320 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 blending of prose with poetry in genres such as the lyric essay as well as the insertions of prose into works by poets the blending of narrative with visual art (as in Donald Evanss series of stamps