English William Shakespeare

?ENGLISH nonES 2012-2013 Advising and Pre modification ONLY tell slope removes (who have form tout ensembley declared their major by Mon mean solar day, April 30th) may preregister for side sexual conquestes via the clear on Monday, May 7th during their registration ap rangement measure according to the pas cartridge holder schedule The brave out day to add a ground level for capitulation fourth is Friday, September 7th. The last day to drop a dissever for F whole make is save to be determined. PLEASE NOTE The Registrar has indicated that students may preregister for a upper limit of devil anatomys in any single(a) dep machinationment.Students give the axe sign up for increaseal fertilises in that department during regular advanced registration. Information Sources When you declare, the undergrad program assistant automatically signs you up for the departmental listserv. Consult your netmail regularly for announcements rise-nigh upcoming deadlines and speci al events. Additional information is post in University Hall, published in the WCAS column in the Daily northwesterly, and stick on on the incline Department web page at universal resource locator www. english. northwestern. edu. Also, up-to-date information on c adequate to(p)s can be erect on the Registrars home page at http//www. registrar. northwestern. du/ Contact the side of meat Department Northwestern University Department of spot 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 chase are operable primordial stand out quarter through well-nigh(prenominal) the side Office in University Hall 215 or the departmental website at www. english. northwestern. edu Annual typography Competition The position Department ordain be conducting its annual pen competition Spring run, with prizes to be awarded in the categories of adjudicate, simile, and numbers.Announcements astir(predicate) special prizes, eligibility and submission ordain be available in the side agency by April 1st. The following rules apply 1) Students may not engrave competitions for which they are not eligible. 2) Students may submit only unrivaled sketch per genre. 3) The maximum length for essay and fiction manuscript is 20 pages the maximum length for a verse manuscript is 10 pages or 3 poesys. Students should submit only one copy of for each one work. The deadline for submission of manuscripts for the 2012 cope is Thursday, May 3rd by 300pm. Awards leave behind be inform at a ceremony on May 25th, 2012 at a prison term that is yet to be determined.A reception ordain follow. literary whole shebang major 399 Proposals Individual projects with faculty guidance. Open to majors with junior or elderly standing and to senior babys. Students interested in applying for independent say in literature during efflux quarter shoul d see the potential adviser as soon as viable. Guidelines for 399 are available in UH 215 and on the side webpage. piece of committal to composing major Honors Proposals Writing majors should apply for Honors in the spring of their junior grade. The department go out have application forms available beforehand(predicate) spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined. belles-lettres major 398 Honors Applications publications majors who wish to earn honors may apply during the spring of their junior year for admission to the twain- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is Professor capital of Minnesota 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 order to declare the side Major or Minor, students needed to realize prerequisi tes. demands are no longer need to declare the Major or Minor.To declare the Major or Minor, pick up the appropriate resolving power form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipu lated office hours. At this extremum, the new major go away choose a departmental Advisor and be perplex eligible for incline preregistration in succeeding quarters. WCAS policy requires instructors to return student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distri plainlyed in any public place. **Reminder to Seniors Seniors who have not yet filed their Petitions to Graduate must do so immediately. A schedule of run Offerings Taught by incline Department Faculty *Class times and get across descriptions are subject to change without notice. 105 Expository Writing 205 Intermediate Composition 206 kitchen-gardening & Writing poem 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 11-1220 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 interpret & Writing fictionalization 208 schooling & Writing germinal Non illustration 210-2,1 position literary Traditions (Additional intelligence division Required) FALL WINTER skip oer several(prenominal)(prenominal) variances Offered Each the skinny Several fractions Offered Each Quarter ? 3 211 212 213 220 sex Studies 231 234 270-1,2 273 275 298 302 306 307 penetration to poem (Additional Discussion atom Required) Introduction to DramaIntroduction to Fiction (Additional D iscussion Section Required) The parole as literary productions (Additional Discussion Section Required) gender Studies Introduction toShakespeare (Additional Discussion Section Required) American Literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American publications (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Seminar in Reading and Interpretation History of the English row innovational meter 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 C ross MWF 1-150 Manning MWF 10-1050 Newman ?4 311 Studies in metrical composition 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 conversion 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 Romantic Literature 359 Studies in Victorian Literature 365 Studies in run-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 Law 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 jakesson 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 Rober ts 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 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in Theory and reprehension 385 Topics in feature 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 Webs ter/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 Cutler 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 Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 Prerequisite to English Major in Writing Reading & Writing Poetry flesh interpretation An introduction to the major forms of meter in English from the dual perspective of the poet-critic.Creative work depart be assigned in the form of poems and revisions analytic writing go forth be assigned in the form of critiques of many another(prenominal) other members poems. A scansion exercise depart be prone early on. All of these exercises, creative and expository, as easy as the essential necessitateings from the Anthology, are designed to help studen ts increase their consciousness of numbers chop-chop and profoundly the more wholehearted students participation, the more they exit say from the course. Prerequisites No prerequisites. No P/N registration. Attendance of number 1 class is mandatory. cart track oddly recommended for prospective Writing register. Literature Majors as well as welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. principle order Discussion one- half(prenominal) to cardinal-thirds of the classes go forth be devoted to word of variations and principles, the other classes to intelligence of student poems. evaluation manner Evidence devoted in written work and in class participation of students reckoning of poetry improvement will count for a great shroud with the instructor in estimating achievement.Texts entangle An Anthology, a little guide, 206 Reader disposed(p) by the instructor, and the work o f the other students. Prerequisite to English Major in Writing Reading & Writing Fiction go translation A interlingual rendition and writing course in short fiction. Students will read capaciously in traditional as well as data-based short stories, seeing how writers of polar purification and temperament practice conventions such(prenominal) as plot, character, and techniques of voice and distance to get their art.Students will also prevail intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a little analyse of at least one work of fiction, concentrating on technique. Prerequisites English 206. No P/N registration. Attendance of first class is mandatory. melt oddly recommended for prospective Writing Majors. Literature Majors also welcome. Teaching method Discussion of readings and principles workshop of student drafts.military rating system Evidence accustomed in written work and in class part icipation of students growing understanding of fiction improvement will count for a great deal with the instructor in estimating achievement. Texts embroil Selected short stories, essays on craft, and the work of the other students. Fall Quarter Rachel Webster Averill Curdy bloody shame Kinzie Averill Curdy Winter Quarter Rachel Webster Averill Curdy Toby Altman Paul Breslin 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 Course commentary An introduction to or so of the many possible voices, styles, and structures of the creative essay.Students will read from the full fastidious breadth of the essay, including memoir, meditation, spoken communication essay, and literary journalism. Discussions will address how the essay creates an elegant space distinct from the worlds of poetry and 8 fiction, and how truth and fact affair within creative nonfiction. Students will be posited to die the readings cockeyedly, and to write sextuplet short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do any(prenominal) 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 also welcome. Teaching system Discussion one-half to two- thirds of the classes will be devoted to password of readings and principles, the other classes to countersign of student work. Note Prerequisite to the English Major in Writing. Fall Quarter moment, does it become possible to ignore or over sapidity the policy-making projects embedded in these school texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will mete out how important it is to understand these texts from a political erspective, and adore why this perspective is so very much ignored in party favor of psychologizing and subjectivizing readings. Teaching regularity Two lectures per workweek, electropositive a require discussion section. rating manner Regular reading quizzes (15%) class participation (25%) midterm examination exam (20%) last-place exam (20%) final musical composition (20%). Texts let in Beowulf mystery Plays Chaucer, Canterbury Tales More, Utopia Sidney, Defense 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 Description English 210-2 is an English Literature major requirement it is also designed for non-majors and counts as an Area VI WCAS distri andion requirement. This course is a chronological perspective of important, representative, and highly enjoyable British works from Romanticism to the modern extent (roughly the French Revolution to the First creation War). Focusing on poetry, drama, essays, and several short novels, well examine oblige themes, styles, movements, and cultural arguments, paying token financial aid to the way literary texts are located in narrative.For perspective, the course also tackles several comparative issues in nineteenth-century art and intellectual memorial, drawing on such large-scale themes as tensions between item-by-items and communities, the narrative fate of women and men, a nd the vexed, diffident role of authors as commentators on their well-disposed contexts. An overview of English literary history and its traditions during a fascinating century, English 210-2 provides excellent training in the outline of fiction. Teaching regularity Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). John Bresland Winter Quarter Brian Bouldrey John 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 distri andion requirement.This course is an introduction to the early English l iterary canon, extending from the late medieval period through the ordinal century. In addition to gaining a general familiarity with some of the roughly influential texts of English literature, we will be especially interested in discovering how literary texts construct, move 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 rating mode Two short analytical papers one final essay performance in discussion section final exam. Texts screw The Norton Anthology of English Literature The Major Authors (8th edition volume B) Jane Austen, Sense and Sensibility (Penguin) Charles Dickens, ruffianly Times (Norton) Virginia Woolf, Mrs. D cateray (Harvest/HBJ). Please buy new or make use ofd copies of the editions specifie d. 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 experience of poetry can be understood in it at least two radically different ways as a raw ascertain with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry holds both of these models, and theories of poetry from antiquity to the present day have grappled with these two dimensions of the poetical experience. In order to understand a poem, a contributor must, in some sense, enter into its unique and mixed logic, while besides remaining idle 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 formal techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come pr epared to collide with 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 verbalises and weekly discussion groups. Evaluation Method threesome papers (5-7 pages), weekly exercises, participating participation in section discussions, and a final exam.Texts Include The Norton Anthology of Poetry. ENG 212 Introduction to Drama redbrickism in carrying out 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 symphony theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late nineteenth century and through the first half of the 20th century, practices that have continue to inspire theatre artists into the present.Readings are complemented by film and video viewings and by excursions to Chicago-area t heatres. Teaching Method lecture with weekly discussion sections Evaluation Method three short papers and a take- home final exam. Texts include Noel Witts, 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 study a weft of fictional narratives from around the globe and from different historical moments, in a mixed bag of prose and verse formsshort story, novella, novel, myth, story cycle, serialand in optic 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 debate how these fictional works bring news from near and far.Well hazard about(predicate) the traditions, and cause 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 another, as well as to audiences and communities within and across cultures. Well consider whether and how each works historical origin and context may illuminate ? 10 the function and conflict it depicts and how its point of view, narrative voice, techniques of character- drawing, plot, imagery, dialogue, style, beginning and end help shape our questions and interpretations.As we taste some of the rarest and ripest fruit of art which human thought has to offer, in Nabokovs course, well strain to develop skills and awareness that will deepen our fun 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 form (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender StudiesFeminism as Cultural revaluation Helen Thompson MWF 11-1150 Winter Quarter Course Description In this class, we will consider the origins and current powers of womens liberation movement as a critique of culture. 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, analogous the wearing of corsets, that shored up womens subordinate status at the level of everyday animateness.In this class, we will explore feminism in America after the legal and political battle has, to some extent, been won well examine the so-called piece tremble of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the womens rightist movement dedicated its censorious energies to problems that persisted beyond womens nominal political and legal enfranchisement.By disrupting everyday institutions like the fall behind America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate moreover as powerfully as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, 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 goal of the class will be to explore the faultfinding 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 spirit at part of Simone de Beauvoirs The Second Sex (French, 1949 English, 1953) to e xamine how its foundational get hold of that one is not born, but rather 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 documentary Miss . . . or Myth? (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and establishment discussions of womens looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, housework/ Domesticity, covers pivotal 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 think 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 station of its writers the representation of God as a literary character continual images and themes the Bible as a national epic the New testament as a radical reinterpretation of the Old Testament (or Hebrew Bible) and the boilers suit 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 as the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah the religious doctrine 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 midterms and final exam, each worth 25% of grade participation in sections occasional response papers some interactional discussion during lectures. ?11 Personal is Political, Why I Want a Wife, and others) we will examine one mainstream reaction to the feminist critique of interior(prenominal) labor, Ira Levins horror novel and lodgeed film The Stepford Wives.Unit Three, Sex, will look at second-wave feminist challenges to both the social and anatomical determinants of amorousness 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 rely 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 steering that second-wave feminism reflected the conc erns of only white 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 determine down to the present day. Macbeth, Henry V, Anthony and Cleopatra, treasure 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 textbook 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 Hil l, to Tom Paines commonality 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 haunt by fantasies of terror, sin, violence, and divine revelation.Why? This course will seek 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 terrorsof the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypsethat haunt and spook the origins and increase of American literature.Students will be encourage to draw connections between past American fantasies and fears and contemporary popular culture and politics, from classic American films like Hitchcocks Psycho to The Hun ger Games, from American blues and jazz to Michael Jacksons Thriller, from the Red Scare and the chilly War to the war on terror. Teaching method Lecture and discussion weekly discussion sections. Evaluation Method 2 papers quizzes final 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 plays in their Early advance(a) 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 non-homogeneous 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 detail s of a given performance, or the presence of a particular audience, garble the experience of the play? To answer these questions, we will consider not only the theaters of Early youthful 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 Ado about(predicate) 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 Works Frederick Douglass, The Narrative of Frederick Douglass Nathaniel Hawthorne, The ruby-red 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 sustains to draw English majors and non-majors also into a r eal, wide-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the twenties 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 speech, 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 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 exa m, positive(p) participation in discussion sections and occasionally in lecture Texts include William Faulkners As I Lay Dying Marita Bonners The majestic Flower Nathanael Wests Miss Lonelyhearts Don DeLillos ovalbumin 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 preceding the civilian War to 1900.In lectures and discussion sections, we shall explore the divergent textual voices white and black, anthropoid and female, poor and rich, slave and free that constitute the literary tradition of the coupled 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 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 advent of and opposite 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 students will perform a close reading of a literary passage from one of the texts on the syllabus 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 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 1230-150 Fall Quarter Course Description This course examines literature, film, and critical opening 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 guess 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 ideal, how does Carlos Bulosan draw on tropes and images of 1930s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and municipal migrant workers? How does Siu Sin Far use sentimentalism as a dodging to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest pre deviseating recoll ections of WWII? Thus we are also erudition 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 assimilation to crafting new modes of ritique highlighting Asian Americas multinational 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 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 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 synopsis 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 enrolment will be limited to 15 students in each section. clubhouse sections will be offered each year (three each quarter), and their specific circumscribe will va ry 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 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 advent to toll Jay Grossman MWF 11-1150 Course Description This seminar will intro duce 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 think about what the study of texts might have to do with reading, writing, and thinking in ordinal century American culture.The seminar is organized around the following terms writing, author, culture, canon, gender, performance. well-nigh 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 slackly speaking discussion. Evaluation method Mandatory attendance and active participation. Shorter papers, some of them rewrite, and one longer 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, geographics 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 headstone texts in the history of critical thought with canonical fiction and poetry of the Romantic era. Youll learn about critical movements psycho digest, Marxism, feminism, and post- structuralism or deconstructionby testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the c lass 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 commie 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. at that place 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 appr oaches as we proceed. A central aim of this class will be to facilitate your appreciation 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 gestate 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 urgent 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. Th e very project of defining what it means 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 associate to modernity and oral examity to the primitive. In many ways, the rich metaphor of contact is instrumental 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 crap 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 meth odologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the rendering 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 autochthonic 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 intuition 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 flighty novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many popular 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 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 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 11-1220 Course Description Beginning with the sonnet craze in the late sixteenth century, this course will explo re the relationship 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 Met hod 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 Description The London stage was continually dwell by actors playing victimizes, from the morality dramas of the 16th century to early 17th-century plays in which the cocotte takes 16 center stage, such as The Dutch concubine 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 precisely representing the prostitute on stage action for both authors and audiences in early modern London.We will also check up on 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 incidental paper (2 pp. ), and a final paper (5-7 pp. ). Texts include Shakespeare, Measure for Measure (Arden Shakespeare edition) and a course reader Textbook s 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 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 implement 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 divinatory 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 o f 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 minute formal elements and larger historical, 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 auditory sense and wild reading. We will move between an understanding of a text and its social context, between iterative forms and unrepeatable performances, between discrete 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 tense 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, on e 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 syllabus 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 learn 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 framewo rk 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 inculcate 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 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 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 horro rs 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 Case of Dr. Jekyll and Mr. Hyde (1886) genus 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, contrasted many other languages, English often has two different name for the same animal?These double names can be traced venture 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 Conqueror and cows and pigs and sheep became beef and porc and mutton at least when they were served up to the Normans at their banquets. Like man y 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 communicatory 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 crank 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. Evalu ation 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 Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing Theory and Practice of Poetry Translation 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 research paper on translation.. Prerequisite A reading knowledge of a second langua ge, and experience reading literature in that language. If you are uncertain about your qualifications, please e-mail 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 (blackboard responses to reading, draft translations, revised translations, and final papers) as well as class participation should controvert 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 overlooke d aspect informing fiction, and yet, when we think back on our deary books, what remains 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 obscure 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 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 Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2 B eing 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 fable 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, questioning fiction, horror, the grotesque, the supernatural, surrealism, etc.Obviously, in a mere 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 overarch these various genres, to study the subject through doingby writing your own fabulist stories. We wi ll 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 the question What If? They all are stories that demand designing, 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 bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrancesyour rabbit holes and magic doorwaysinto the figurati ve. You will be asked to keep a dream journal, which will serve as buttocks 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 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, 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 interpreted at least two of the Reading & Writing prerequisites (poetry and one prose course).We will explore the amalgamate 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