Graduate Courses
Fall 2007
Graduate students from other departments and exceptionally well-prepared undergraduates are welcome in English graduate courses (except for English 200) insofar as limitations of class size allow. Courses numbered 203 are usually limited to 20 students; courses numbered 250 are usually limited to 15. From time to time, instructors of other graduate courses may find it necessary to limit enrollment.
When demand for a graduate course exceeds the maximum enrollment limit, the instructor will determine priorities for enrollment and inform students of his/her decisions at the second class meeting. Tele-BEARS enrollment does not guarantee a place in a graduate course that turns out to be oversubscribed on the first day of class; in fact, a few students could be required to drop the course, starting with people who are not English Department graduate students -- though, fortunately, this situation does not arise very often.
200/1
Problems in the Study of Literature
Gallagher, Catherine
MW 10:30-12
305 Wheeler
Book List: Leitch, V., ed.: The Norton Anthology of Theory and Criticism; Nicholls, D., ed.: Introduction to Scholarship in Modern Languages and Literatures
Course Description: Approaches to literary study, including textual analysis, scholarly methodology and bibliography, critical theory and practice.
200/2
Problems in the Study of Literature
Goldsmith, Steven
MW 10:30-12
301 Wheeler
Book List: T.B.A.
Course Description: Approaches to literary study, including textual analysis, scholarly methodology and bibliography, critical theory and practice.
203/1
Graduate Readings: The Postcolonial Novel
Premnath, Gautam
M 3-6
101 Wheeler
Book List: The book list for this course has not been finalized, but is likely to include several of the following texts: Rizal, J.: Noli Me Tangere; Hyder, Q.: River of Fire; Naipaul, V.S.: A House for Mr. Biswas; Salih, T.: Season of Migration to the North; Ngũgĩ: A Grain of Wheat; Rushdie, S.: Midnight’s Children; Dangarembga, T.: Nervous Conditions; Munif, A.: Cities of Salt; Ghosh, A.: The Hungry Tide; Iweala, U.: Beasts of No Nation; Desai, K.: The Inheritance of Loss; Adichie, C.: Half of a Yellow Sun; and a course reader
Course Description: A survey of major works of postcolonial fiction, this course is also an attempt to sound correspondences between the novel form and the nation form. We will explore how the career and vicissitudes of the postcolonial nation-state provides the shaping problematic for a series of novels from postcolonial Africa , Asia , and the Caribbean . We will conclude with a cluster of recent works that indicate new vocations for the postcolonial novel, and that register both its new status in the global literary marketplace and the concomitant disrepute of postcolonial nationalism. Theoretical readings will include the likes of Benedict Anderson, Etienne Balibar and Immanuel Wallerstein, Homi Bhabha, Pascale Casanova, Pheng Cheah, Michael Denning, Frantz Fanon, Graham Huggan, Priya Joshi, Mary Layoun, Franco Moretti, Ato Quayson, and Gayatri Spivak. A 10-page paper is due midway through the course. At the end of the semester students have the option of either submitting a second 10-page paper or expanding their first submission into a longer seminar paper.
203/2
Graduate Readings: Medium Theory, Media Archaeologies
Langan, Celeste
TTh 11-12:30
103 Wheeler
Book List: Chion, M.: Audio Vision; Kittler, F.: Gramophone Film Typewriter; Lessing, G.: Laocoon; Luhmann, N.: Art as a Social System; Manovich, L.: The Language of New Media; McLuhan, M.: Understanding Media; Nancy , J.L.: The Muses; Ranciere, J.: The Ignorant Schoolmaster; Schreber, D.: Memoirs of My Nervous Illness; Shannon, C.: A Mathematical Theory of Communication
Course Description: When Byron describes “the most barbarous middle age/ Of Man” in terms of a specific medium—“ a period something like a printed page,/ Black letter upon foolscap”—he captures the sense of “medium theory” to which students will be introduced in this class. Recognizing that any theory of media must be communicated in a medium, medium theory (according to W.J.T. Mitchell) begins “in the middle of things” (in medias res). It will be our hypothesis that studying the medium of the “printed page” can offer a corrective at once to the tendency to regard sensory perception as “immediate” and to the assumption that audiovisual and digital technologies offer a greater (if not superior) level of mediation. We’ll pay some attention (in deference to the interests of the instructor) to the printed poem as a technology of audio-vision, following Niklas Luhmann’s contention that “the recognition that every form is a form-in-a-medium dates back to romanticism.” But we’ll also pay attention to other uses of the print medium: to the status of the number as well as the letter, to the emergence of statistical graphs and to the line of the engraving and the musical score as well as to the line of the poem. We’ll also interrogate attempts to bypass the medium of print—whether through the “nerve-language” of Schreber or the radical pedagogy of Jacotot. For it may be that the question of a medium and the question of an essence are always bound together: the very possibility of multiple “mediations” produces in turn the question, “mediations of what [thing]?”
Since this course is designated as a “reading” course, and designed to be an introduction, the writing requirement will be relatively light: a 15-page essay considering some printed matter (though “print” may be construed in a variety of ways). Students will also be free (indeed encouraged) to propose other materials for shared consideration.
203/3
Graduate Readings: Prospectus Workshop
Abel, Elizabeth
note new time: W 2-5
note new room: 204 Wheeler
Book List: None
Course Description: This will be a hands-on writing workshop intended to facilitate the transition from qualifying exams to prospectus conference, and from prospectus conference to the first dissertation chapter. Every week, students will submit some formulation of their project (however partial and provisional) to the group, which will offer constructive feedback and pose leading questions. We will also review a range of prospectuses from the past to demystify the genre and gain a better understanding of its form and function. We will embrace the inevitability of inchoate beginnings and support the process of refining these into well-defined critical questions and projects. The goal will be to insure that by the end of the semester, every member of the workshop will have submitted a prospectus or first chapter to his or her committee.
203/4
Graduate Readings: Three Marxian Poets? The Americas and Germany? Brecht, Vallejo, Zukofsky
Kaufman, Robert
Tues. 2-5
note new room: 222 Wheeler
This class is cross-listed with Comparative Literature 202B and German 214.
Book List: See below
Course Description: The German Bertolt Brecht, the Peruvian César Vallejo, and the American Louis Zukofsky exert—within their lifetimes, and within their posthumous reception to this day—special influence on experimental-modernist and marxian (as well as broader Left) traditions of poetry. Like many artists who come of age early in the 20th century, these poets effectively begin their careers with romantic and symbolist poetics all but second nature to them; they proceed to adopt and extend "advanced" formal and thematic experimentation as intended critique, radicalization, and modernization of romanticism and symbolism themselves, and as a contribution towards the development of modern poetry's capacities dynamically to engage, from the Left, a dramatically altered social landscape. In sustained readings of these writers' poetry and criticism (and with some attention to their work outside poetry), this seminar will invite response to many aspects of the poetic art under study, while highlighting the consideration of what seems or doesn't seem particularly Marxian—or for that matter, particularly Left—in the poetry. These poets' formidable imaginative energies and intellectual reach; their terrific feel for how to work with and stretch inherited poetic forms and genres; their singular formal-technical innovations at the level of line, syntax, phrase, syllable, accent, and even phoneme; their virtuosic abilities with traditional and novel orchestrations of lyric musicality; and just their sheer overall poetic talent and ambition will allow us to see, among other things, how their rigorous investigations and enactments—in verse and criticism—of the compound question "what is poetry, what is aesthetic experience, what is modernism, what is marxism, what might—or should, or should not—bring them all together?" will yield intriguing, often unexpected results (and not only in terms of the relationships obtaining in modern poetry among pleasure, estrangement, judgment, form, structure, genre, aesthetic autonomy, sociohistorical content, and ethical-political commitment). In addition to their own poetry, we will read poems by some of Brecht's, Vallejo's, and Zukfosky's precursors, colleagues, and heirs; and we will spend considerable time evaluating the national—and, perhaps especially, the international or supra-national—claims made by and for the three poets' work, including claims about the bridges they wished to help construct (not least, among the literary-artistic-political cultures of Germany and the rest of Europe, Latin America, and the United States). We will in addition read—trying to work out our own interpretations while seeking as well to reconstruct the interpretations made (and then presumably put artistically into motion) by Brecht, Vallejo, and Zukofsky themselves—those marxian writings that most influenced the three poets; this will above all mean the canonical writings of Marx and Engels, but also some key works of Karl Korsch, Georg Lukács, Walter Benjamin, Vladimir Mayakovsky, José Carlos Mariátegui, John Reed, and Sidney Finkelstein. The ways that Brecht's, Vallejo's, and Zukofsky's poems appear finally to grasp or transform these 19 th- and 20 th-century marxian texts may prove telling, not only vis-à-vis modern poetry and marxism, but also with regard to this particular poetry's German-European, Peruvian-Latin American, and American character. (Note: We will read Brecht's and Vallejo's poetry in English translation, though we will frequently refer to the original German and Spanish texts of the facing-page editions that have been ordered; knowledge of German and/or Spanish, while not required, will of course be helpful).
205A
Old English
Miller, Jennifer
TTh 11-12:30
108 Wheeler
Book List and Course Description: For more information on this course, please email the professor at j_miller@berkeley.edu.
211
Chaucer
Justice, Steven
MW 1:30-3
305 Wheeler
Book List: Benson, ed.: The Riverside Chaucer
Course Description: Quick consideration of one or two of Chaucer’s earlier works (the Book of the Duchess or The House of Fame or both) will begin the semester, to set up questions about literary history and the idea of “the literary” that will occupy us fitfully through the semester—both as theoretical issues in their own right and as chronic provocations of Chaucer’s poetry. (Time spent on these earlier works will also serve as a quick introduction to London Middle English for those who have not previously encountered it.) The bulk of the semester will be spent on Chaucer’s two major works, the Troilus and Criseyde and the Canterbury Tales. We will read them in part against the background of their proximate continental predecessors and of Chaucer’s own construction of his literary career, but theoretical and historical interests of the students in the course will also shape the topics we address.
243B
Poetry Writing Workshop
Hass, Robert
TTh 9:30-11
301 Wheeler
Book List (tentative): Hillman, B.: Loose Sugar; Snow, C.: For; Ashbery, J.: Selected Poems; Gluck, L.: Wild Iris; Kinnell, G.: Selected Poems; Milosz, C.: Collected Poems; Palmer, M.: Lion Bridge ; Snyder, G.: No Nature; Graham, J.: Dream of the Unified Field
Course Description: This is a workshop course in the writing of verse. Students will be expected to bring new work to class and read and discuss it with each other. There will also be a good deal of reading in modern poetry and poetics.
To be considered for admission to this class, please submit photocopies of no more than 8 of your poems to Professor Hass’ mailbox in 322 Wheeler Hall BY 4:00 P.M., TUESDAY, APRIL 17, AT THE LATEST.
Be sure to read the paragraph concerning creative writing workshop courses on page 2 of this Announcement of Classes for further information on enrollment in such courses!
246D
Graduate Pro-seminar: Renaissance (17th Century)
Picciotto, Joanna
TTh 12:30-2
224 Wheeler
Book List: Bunyan, J.: Grace Abounding; Di Cesare, M.: George Herbert and the Seventeenth-Century Religious Poets; Donne, J.: Complete English Poems; Maclean, H.: Ben Jonson and the Cavalier Poets; Marvell, A.: The Poems of Andrew Marvell. There will also be a course reader.
Course Description: A survey of England ’s “century of revolution,” focusing on the relationship between literature, philosophy, and politics in the period. We’ll devote most of our time to poetry, but we’ll also read some pamphlet literature, a spiritual autobiography, as well as extracts from Thomas Browne, Robert Burton, Thomas Hobbes, and some prophets.
246H
Graduate Pro-seminar: Victorian Period
Puckett, Kent
Thurs. 3:30-6:30
283 Dwinelle
Book List: Texts for the class will include The Broadview Anthology of Victorian Poetry and Poetic Theory, edited by Thomas J. Collins & Vivienne J. Rundle, and a course reader probably containing readings from Aristotle, Empson, Richards, Jakobson, Freud, Lacan, de Man, Adorno, Armstrong, Bristow, Tucker, Agamben, Bourdieu, and others.
Course Description: In this course we will approach the literature and culture of the Victorian period through its poetry and poetics. We'll read a lot of both in order to do three related things. First, we'll consider in what terms the idea of the literary as it was embodied in the figure of the poem was understood in nineteenth-century British culture and society. What, we'll ask alongside the Victorian poet, is poetry? Who and what is it for? Why bother writing it instead of something else (a novel, a speech, literary criticism)? Second, we'll work to understand the ways in which an extreme self-consciousness about history, subjectivity, and the relation between the two that characterizes much of this poetry finds various forms in lyrics, ballads, dramatic monologues, verse novels, etc. Third, we'll take our reading of specifically Victorian poetry and poetics as an opportunity to think about more recent trends in poetics; what ways of thinking about poetry have since appeared because of, in spite of, or very decidedly against the Victorians and their poetry? To what degree has an idea (whether true or false) about the Victorians shaped how we read and value poetry today?
246L
Graduate Pro-seminar: Literature in English - 1945 to Present
Falci, Eric
MW 4-5:30
206 Dwinelle
Book List: Ashbery, J.: Self-Portrait in a Convex Mirror; Beckett, S.: Molloy, Malone Dies, and The Unnamable; Carson, A.: Autobiography of Red; Coetzee, J.M.: Disgrace; Dove, R.: Thomas and Beulah; Rushdie, S.: The Satanic Verses; a course reader containing a few shorter pieces (probably by Pynchon, Morrison, Naipaul, and one or two others), poems (perhaps Bishop, Brathwaite, Bunting, Creeley, Dabydeen, Goodison, Heaney, Hejinian, Howe, Larkin, Mackey, Merrill, Muldoon, O’Hara, Okigbo, Rich), and critical essays
Course Description: We will cut a looping path through (over, under, among) the various bodies of literature produced in English since WWII. Focusing quite intensely on a selective cache of texts, we’ll try to evoke the array of overlapping cultural, historical, sociopolitical, and aesthetic webs in which the works interact. Along the way we will consider such topics as: constructions of gender, ethnicity, and race in post-war Anglophone literature; aesthetic form, generic mutation, and formal experimentation after modernism; post-imperial formations and postcolonial literatures; shifting geopolitical hegemonies and the status of English within processes of globalization; the particular problems of canonizing the “contemporary”; and the relationship between theories of the postmodern and literary texts that are dependent on, concurrent with, and disruptive of such theoretical formulations. You will be responsible for giving an oral presentation and writing two 10-12 page papers.
250/2
Research Seminar: SERVILITY
Best, Stephen
Tues. 3:30-6:30
201 Wheeler
Book List (Primary texts): Brent, L.: Incidents in the Life of a Slave Girl; Cugoano, O.: Thoughts and Sentiments on the Evil of Slavery; Douglass, F.: My Bondage and My Freedom; Earle, W.: Obi, or The History of Three-Fingered Jack; Equiano, O.: Interesting Narrative of the Life of Olaudah Equiano; Lewis, M.: Journal of a West India Planter; Prince, M.: The History of Mary Prince: A West Indian Slave; Turner, N.: Confessions; Walker, D.: Appeal to the Coloured Citizens of the World
Critical texts (not included in the reader): Baucom, I.: Specters of the Atlantic; Hartman, S.: Lose Your Mother; James, C.L.R.: The Black Jacobins; Palmie, S.: Wizards and Scientists; Scott, D.: Conscripts of Modernity
A course reader will include selections drawn from the following: Joan Dayan: Haiti, History, and the Gods (California, 1995); Saidiya Hartman: “The Time of Slavery” (2002); Dipesh Chakrabarty: “The Time of History and Times of Gods” (1997); Edouard Glissant: Poetics of Relation (Michigan, 1997); Srinivas Aravamudan: Tropicopolitans (Duke, 1999); Michael Hanchard: “Afro-Modernity: Temporality, Politics, and the African Diaspora” (1999); Don Herzog: Poisoning the Minds of the Lower Orders (Princeton, 1998); Pierre Bourdieu: The Logic of Practice (Paris, 1980); Jacques Ranciere: The Philosopher and His Poor (Paris, 1983); Michel Foucault: “Lives of Infamous Men;” David Scott: Refashioning Futures (Princeton, 1999); Reinhard Kosselleck: Futures Past (MIT, 1985); Edward Long: History of Jamaica (London, 1774); Bryan Edwards: History of the British Colonies in the West Indies (London, 1801); John Gabriel Stedman: Narrative of a Five Years’ Expedition against the Revolted Negroes of Surinam (1796); Thomas Thistlewood: Journal (1748-86); William Wilberforce: An Appeal to the Religion, Justice and Humanity of the Inhabitants of the British Empire, in behalf of the Negro Slaves in the West Indies (1823); James Stephens: England Enslaved by Her Own Colonies (1826); Thomas Clarkson: An Essay on the Slavery and Commerce of the Human Species (1788).
Course Description: In both America and the British Empire , the long hiatus between the abolition of the slave trade and the abolition of slavery meant that, while the words “abolition” and “freedom” spread like wildfire, what fueled their spread was all sorts of confusion as to their meaning. This interval gave rise to a perception amongst the slaves themselves (with attendant confusions) that they were stuck in a time of waiting between the no longer and the not yet—perhaps no longer a slave, but not yet citizen; perhaps no longer legally enslaved, but not yet legally free; perhaps only a continued servility.
It is a first impulse to brand servility any gesture unduly imitative or appropriative, for example, to struggle for a right to speak only to aver the necessary order of things, or to make an appeal in official or normative language with no expectation that it will be granted. In this course I will argue that to encounter servility in these ways is to encounter history as a mode of incompletion, as an experience of events that are nonevents (empty appeals, broken promises, incomplete gestures of abolition, rumored emancipations). This is a course, then, on the felt experience of the incomplete project of freedom, on freedom as an impossible locus of articulation, and on the analytical and aesthetic mediation of what it feels like always to be in wait—detached, disqualified, anomalous, epiphenomenal, peripheral. We will perform the usual work of grappling with abolition, emancipation, and freedom as historical phenomena; however, we will do the unusual work of considering this as a history experienced as a futurity (as objects, in Ernst Bloch’s phrase, of “anticipatory consciousness”).
We will read widely across the variegated archive of slavery (i.e., slave narratives, appeals, petitions, letters, planter’s journals, novels, political pamphlets) in light of some recent trends in scholarship. We will begin by considering some recent scholarship on slavery and enlightenment that grapples with the problem of futures: the future viewed through the double helix of instrumental reason and disqualified forms of historical knowledge (witchcraft, obeah, spirit work); how failure opens up a space for thinking about postcoloniality and the problem of the present. At all moments, in light of our theme, we will keep in mind how the slave serves the broader purposes of literary and philosophical discourse.
250/3
Research Seminar: The Novel - History and Form
Banfield, Ann
W 3-6
205 Wheeler
Book List: to be selected from: Richardson, S.: Pamela; Scott, W.: Red Gauntlet (or Rob Roy); Austen, J.: Lady Susan and Sense and Sensibility; Eliot, G.: Middlemarch or Silas Marner; Dickens, C.: Little Dorrit; Flaubert, G.: Sentimental Education; Conrad, J.: Under Western Eyes; James, H.: The Wings of the Dove or The Golden Bowl; Faulkner, W.: Absalom, Absalom! or As I Lay Dying; Joyce, J.: A Portrait of the Artist as a Young Man and Ulysses; Woolf, V.: To the Lighthouse or The Waves; Beckett, S.: Company and Ill Seen Ill Said
Course Description: This course will focus on the development of the novel as a form. It will consider the multiple origins of the novel in the epic, travel literature, the diary and confession, biography and history. It will consider the literary styles paradigmatically represented by the novel, e.g. realism and naturalism, as well as specific sub-genres of the novel, e.g., the epistolary novel, the historical novel and the Bildungsroman. It will also pay close attention to features of the language of the novel: the pronouns, the tenses, represented speech and thought (free indirect style), tense, interior monologue, etc. Alongside the novels, we will read selections from critics such as Auerbach, Bakhtin, Barthes, Benjamin, D. Cohn, Doody, Genette, Hamburger, Lukacs, McKeon, Moretti, Shklovsky and Watt. The problem we will have to confront is how to have a manageable reading list (i.e., how to shorten the reading list above) and yet be able to make generalizations grounded in the empirical, how to read enough and still have time to talk about what we’ve read in some depth.
250/4
Research Seminar: The Modern Long Poem
Blanton, Dan
Note new time: Tues. 5-8 P.M.
Note new location: 202 Wheeler
Book List: Arnold, M.: “Empedocles on Etna,” “Preface to Poems (1853)”; Auden, W.: The Orators and Another Time; Bunting, B.: Briggflatts; Eliot, T.: The Waste Land; Fisher, A.: Place; Fisher, R.: City and A Furnace; H. D.: The Walls Do Not Fall; Hill, G.: Mercian Hymns; Jones, D.: The Anathemata: fragments of an attempted writing; MacDiarmid, H.: A Drunk Man Looks at the Thistle; MacNeice, L.: Autumn Journal; Pound, E.: A Draft of XVI Cantos, Pisan Cantos; Yeats, W.: “Meditations in Time of Civil War”
Course Description: This course will consider a paradox in the literary history of modernism, tracing the emergence and convoluted history of a form that somehow remains anomalous and central simultaneously, ubiquitous but often as difficult to describe as to read: the long poem, poetic sequence, epic, sacred text, loose and baggy monster. We will begin by exploring a few nineteenth-century intimations of a long modernism (in both senses), before turning to the texts that reclaimed epic as a modernist mode: Eliot’s Waste Land and Pound’s Cantos. Most of our reading will concentrate on the afterlives of “a poem including history” and on the formal reinventions of a concept of modernism in the altered context of the post-war years, as we seek to account for the ways in which poetic forms incorporate or refract the pressures of modernity more generally.
While most of our collective discussion will focus on the poetry of the British archipelago, students interested in American and other traditions are welcome to explore these questions in other parallel contexts. Possible secondary readings include Abraham and Torok, Adorno, Anderson , Arendt, Bernstein, Bloch, Brathwaite, Crawford, Deleuze and Guattari, Freud, Halbwachs, Harvey , Jameson, Kittler, Lotman, Lukács, Moretti, Morris, Nairn, Osborne, Perloff, Rainey, Rosenthal and Gall, Said.
302
The Teaching of Composition and Literature
Schweik, Susan
Thurs. 9-11
305 Wheeler
Book List: Showalter, E.: Teaching Literature; Villanueva: Cross-Talk in Comp Theory: A Reader; Davis, B.D.: Tools for Teaching (available online as part of netLibrary, accessible only through computers connected to the UC Berkeley campus network); a xeroxed course reader
Course Description: This course will explore the theory and practice of teaching literature and writing. Designed as a both a critical seminar and a hands-on practicum for new college teachers, the class will cover topics such as course design; leading discussion; teaching close reading; running a section of a lecture course; responding to student papers; teaching writing (argumentation, organization, grammar, style) in the classroom; time management; grading; labor politics and the work of teaching. We’ll use the course as a place to invent, to debrief, and to collectively support development of each teacher’s own effective, distinctive pedagogical approach. You’ll have opportunities to practice teaching skills in experimental “microteaching” sessions, to get advice on everyday teaching problems as they come up, and to observe classes taught by and talk shop with more experienced English department teacher/mentors.
310
Field Studies in Tutoring Writing
Staff
Times and rooms T.B.A.
Book List: Meyer, E. and L Smith: The Practical Tutor
Recommended Text: Leki, I. : Understanding ESL Writers
Course Description: Through seminars, discussions, and reading assignments, students are introduced to the language/writing/literacy needs of diverse college-age writers such as the developing, bi-dialectal, and non-native English-speaking (NNS) writer. The course will provide a theoretical and practical framework for tutoring and composition instruction.
The seminar will focus on various tutoring methodologies and the theories which underlie them. Students will become familiar with relevant terminology, approaches, and strategies in the fields of composition teaching and learning. New tutors will learn how to respond constructively to student writing, as well as develop and hone effective tutoring skills. By guiding others towards clarity and precision in prose, tutors will sharpen their own writing abilities. New tutors will tutor fellow Cal students in writing and/or literature courses. Tutoring occurs in the Cesar E. Chavez Student Center under the supervision of experienced writing program staff.
In order to enroll for the seminar, students must have at least sophomore standing and have completed their Reading and Composition R1A and R1B requirements.
Some requirements include: participating in a weekly training seminar and occasional workshops; reading assigned articles, videotaping a tutoring session, and becoming familiar with the resources available at the Student Learning Center; tutoring 4-6 hours per week; keeping a tutoring journal and writing a final paper; meeting periodically with both the tutor supervisor(s) and tutees' instructors.
This course meets the field study requirements for the Education minor, but it cannot be used toward fulfillment of the requirements for the English major. It must be taken P/NP.
Pick up an application for a pre–enrollment interview at the Student Learning Center, Atrium, Cesar Chavez Student Center (Lower Sproul Plaza), beginning April 2. No one will be admitted after Wednesday of the first week of fall classes.
Please read the paragraph on page 3 of this Announcement of Classes regarding enrollment in English 310!
Last modified: September 24, 2007