General Instructions

Concentration Areas

Announcement of Courses

R1A/B Courses

UPPER DIVISION COURSES PART I (Eng. 100 to Eng. 143)

FALL 2002

ENGLISH MAJORS: The areas of concentration for each upper-division course are typed right above the book list for the class. In addition, see separate web-page for AREAS OF CONCENTRATION.

Junior Seminar: Studies in the 18^th-Century Novel

100/1 MW 1:30-3

K. Goodman 222 Wheeler

Areas of Concentration: 1C; 3

Book List: Defoe, D.: Moll Flanders; Richardson, S.: Pamela; Fielding, H.: The Adventures of Tom Jones; Sterne, L.: A Sentimental Journey; Burney, F.: Evelina; Radcliffe, A.: The Romance of the Forest; Austen, J.: Northanger Abbey. There will also be a course reader, with selections by Bunyan, Swift, Johnson, A. Smith, Hume, and twentieth-century theorists of the novel.

Course Description: A study of seven rather different eighteenth-century novels in relation to contemporary currents in non-fictional prose. We will trace the development of the English novel from an amorphous, experimental form to a self-conscious and self-parodying genre, while also tracing its differentiation from (and competition with) neighboring genres, particularly newspaper journalism, spiritual autobiography, and historical writing. At the same time, this class will make you familiar with important twentieth-century critical accounts of the "rise of the novel."

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Modern American Poetry

100/2 MW 1:30-3

J. Shoptaw 204 Wheeler

Areas of Concentration: 1E; 3

Book List: Norton Anthology of Modern American Poetry; Crane, H.: Complete Poems; Eliot, T.S.: Four Quartets, The Waste Land and Other Poems; Frost, R.: Early Poems; H.D. (Hilda Doolittle): Trilogy; Moore, M.: Complete Poems; Pound, E.: Selected Poems; Stevens, W. Palm at the End of the Mind; Williams, W.C.: Paterson, Selected Poems

Recommended Text: Ellmann, R., ed.: Norton Anthology of Modern Poetry

Course Description: An intensive study of the most influential poets, focusing on long and short poems. We will consider both poetic techniques and cultural/historical contexts. We will also consider modernist poetics through their prose, along with poems of other modern poets (e.g., Loy, Stein, Hughes).

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: The Slave Narrative

100/3 NOTE NEW TIME!: TTh 9:30-11

B. Wagner NOTE NEW ROOM!: 24 Wheeler

Areas of Concentration: 1D; 2; 3; 4

Book List: Carretta, V., ed.: Unchained Voices; Andres, W. and H.L. Gates, eds.: Slave Narratives; Manzano, J.F.: Autobiography of a Slave; Prince, M.: History of Mary Prince; Crafts, H.: The Bondwomanís Narrative

Course Description: This course will locate the genre of the slave narrative in relation to the broad range of political, cultural, and economic currents that constituted the system of Atlantic slavery. In the first place, we will approach the slave narrative as a technology for producing a "self" in the face of a system that denies the slaveís capacity to speak. We will ask, at the same time, how that self is brought into existence through written conventions that determine what can and cannot be said about life under slavery. To that end, we will also pay attention to a number of contemporaneous modes of writing that rely upon similar structures of address the captivity narrative, the spiritual autobiography, the confession, life histories by convicts and beggars with an eye to understanding the "media ecology" within which the slave narrative was produced. Additional topics for consideration include: the politics of slave literacy and the heritage of the enlightenment; thematics of captivity and dislocation; the critique of the slave trade and the rise of capitalism; race and sexuality; sentimental masochism; and the topos of heroic resistance. We will also survey a series of critical debates about the slave narrative genre, examining the assumptions about race, culture, and identity upon which these debates are frequently founded.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Novel Technologies in 19^th-Century Britain

100/4 TTh 12:30-2

S. Zieger 136 Barrows

Areas of Concentration: 1D; 3; 6

Book List: Gaskell, E.: Mary Barton; Collins, W.: The Woman in White; Hardy, T.: Tess of the D'Urbervilles; Stoker, B.: Dracula; a course reader

Course Description: In the Victorian period, labor, technology, and the novel each generated dynamic discourses that intersected in intriguing ways. This course surveys Victorian literature through its relationships to labor and technology. We will investigate how Victorian essays and novels reflect historical concerns about human labor and the technology that enhances its productivity or supersedes it. How do humans relate to machines in nineteenth-century Britain? We will also examine the novel's role as a kind of technology itself, one that mechanized its readers. How did technologies organize knowledge and influence the detection genre? How did technology and the labor that supported it preserve the British empire, or insulate it from fears of reverse colonization? These are some of the questions we will ask as we explore primary texts together. Our critical apparatus will borrow extensively from work in the history of science and technology, making this an interdisciplinary course.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Comedy, Carnival, and Folly

100/5 TTh 9:30-11

J. Altman 243 Dwinelle

Areas of Concentration: 1B; 3; 6

Book List: Erasmus: The Praise of Folly; Jonson, B.: Bartholomew Fair; Rabelais: Gargantua and Pantagruel; Shakespeare, W.: Twelfth Night; a course reader

Course Description: "License": what does it mean? It refers to permission, and the authority that grants it. It also refers to what one enjoys or indulges one's liberty and hence to behavior that might become licentious or libertine, thereby threatening the authority of those who grant license in the first place. Is license then a social fiction devised to maintain an imagined but necessary distinction between order and disorder, moral and immoral, rational and irrational that always threatens to collapse and must always be renewed? Renaissance writers and institutions often seemed more willing to entertain this insight than we are, in their festivals celebrating the inversions of power, their licensed fools, their notions of holy folly, their provision of "liberties" where the subversive potential of theater enjoyed relatively free play. This central, ambiguous, proliferating term will govern our study of the rich intersections of classical comedy, humanist learning, folk ritual, and native traditions of folly, madness, and the grotesque in Renaissance culture and their relation to social stability. Planned readings include Erasmusí The Praise of Folly, Rabelaisí Gargantua and Pantagruel, George Gascoigneís The Supposes, the anonymous commedia dellí arte play The Three Cuckolds, Shakespeareís Twelfth Night, Robert Arminís Foole Upon Foole, Jonsonís Bartholomew Fair, and a selection of critical and theoretical essays in a course reader. Students are expected to participate actively in discussion and to write three essays and a final exam.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Colonialism and Its Dissed Contents: An Introduction to Postcolonial Theory

100/6 TTh 9:30-11

P. Joshi 2304 Tolman

Areas of Concentration: 1D or 1E; 2; 5

Book List: Haggard, H. R.: King Solomon's Mines; Kipling, R.: Kim; Joyce, J.: A Portrait of the Artist as a Young Man; CÈsaire, A.: A Notebook of a Return to the Native Land; CÈsaire, A.: Discourse on Colonialism; Fanon, F.: The Wretched of the Earth; Nandy, A.: The Intimate Enemy: Loss and Recovery of Self Under Colonialism; Said, E.: Orientalism. A reader with essays by Hobsbawm, McClintock, Macaulay, Cohn, Viswanathan, Spivak, Ngugi, Achebe, Bhabha, Chakrabarty, and Pratt will also be required.

Course Description: In this seminar, we will explore the theories and fictions that characterized the encounter between the European metropolis and its colonial peripheries during the very long nineteenth century that has somehow lingered into the twentieth. The literary works we will read from England, Ireland, Martinique, and India come from metropolitan novelists writing empire as well as figures from the former colonies writing back to the center. These literary readings comprise approximately half of our course. They will frame our inquiry by providing the case studies to help us scrutinize and evaluate postcolonial theory, that critical impulse that has had such a profound impact on literary studies in the last quarter century. The theoretical and historical readings on our list come from a number of foundational texts in the field that will help us understand and complicate the following topics: the politics of culture; the psychology of colonialism; imperialism and popular representation; refusing and resisting empire; narrating territories; aestheticizing empire; inventing the Other; imagining nationalism. In no way do these readings claim to survey postcolonial theory: rather, their selection and organization (into six thematic modules) is intended as an introduction to the methods and approaches that this area of inquiry has made available to literary and cultural studies.

Requirements include two 6-page papers and one 15-page research paper. There will be no mid-term or final exam.

NOTE: Students wishing to take this course must have taken two of the 45A, B, C sequence or sought prior approval from the instructor.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: 19^th-Century American Women Writers

100/7 TTh 11-12:30

D. Beam 254 Dwinelle

Areas of Concentration: 1D; 3; 4

Book List: Readings are not finalized but may include: Stoddard, E.: The Morgesons; Spofford, H.: The Amber Gods; Wilson, H.: Our Nig; Phelps, E. Hedged In; Southworth, E.D.E.N.: The Hidden Hand; Alcott, L.: Long Fatal Love Chase; Hopkins, P.: Contending Forces.

Course Description: We will study the representational practices, stylistic modes, and narrative structures available to nineteenth-century women writers who chose to write about female desire. Reading novels that feature women of will and individuality, we will attend to the close linkages of female sexuality with female creativity and ambition, but also with pathology and insanity always overlaid with ideas of class and race. Our focus will be on mid-century (the twenty years before and after the Civil War), and our readings will be contextualized in relevant historical materials including constructions of the female body and desire in medical and alternative health discourses, marriage reforms, the cult of motherhood, and the economics of slavery. In order to ventilate our discussion and allow these texts to circulate in the wider sphere they certainly enjoyed in their time, we may turn to Hawthorneís famous example of a red-letter woman, or sample the work of French or British women writers (Sand, E. Bronte, Braddon) that is (and was) in conversation with this body of writing.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Literature of American Expansionism, 1885-1915

100/8 TTh 11-12:30

M. Gonzalez 234 Dwinelle

Areas of Concentration: 1D or 1E; 3; 6

Book List: Ruiz de Burton, M.A..: The Squatter and the Don (1885); Melville, H.: Billy Budd, Sailor (1891); Twain, M.: Puddíníhead Wilson (1895); Remington, F.: Pony Tracks (1895); Norris, F.: The Octopus: A Story of California (1901); London, J.: The Iron Heel (1908); Austin, M.: The Land of Little Rain (1903); Chesnutt, C.: The Colonel's Dream (1905); Grey, Z.: Riders of the Purple Sage (1912); Cather, W.: Song of the Lark (1915)

Course Description: In this course students will read, discuss, and write about literary works published in the U.S. during the period of American expansion (1885-1915). We will pay special attention to the way these works display the anxieties of a society undergoing rapid and large-scale expansion as the result of imperialist policies and discourses. Many of the selections on the reading list are written from the perspective of the American West.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Fiction and the Archive

100/9 TTh 11-12:30

S. Hartman 246 Dwinelle

Areas of Concentration: 1E; 2; 6

Book List: Amis, M.: Timeís Arrow; Armah, A.K.: Two Thousand Seasons; Butler, O.: Kindred; Daitch, S.: L.C.; Danticat, E.: Breathe, Eyes and Memory; Galeano, E.: Memory of Fire; Kincaid, J.: The Autobiography of My Mother; Morrison, T.: Song of Solomon; Silko, L.M.: Ceremony; Ouologuem, Y.: Bound to Violence; Swift, G.: Waterland; Whitehead, C.: The Intuitionist; Truillot, M.-R.: Silencing the Past; de Certeau, M.: Writing History; Connerton, P.: How Societies Remember

Course Description: The course examines the role of narrative and figuration in the construction of the past by looking at the complicity of domains presumed to be distinct: history and fiction. Reading novels, historiography, and theories of history, the class will consider a range of questions about the nature of the archive, notions of progress and decline, and what, if anything, moves history. Most of the novels have historical acts and actors at their center, others create a counter-memory or counter-narrative of the past through speculative fictions. The questions that frame the course are: What is the nature of historical explication? How does the way we narrate history influence our perception of past events? Can fiction most adequately represent the past, particularly in the case of genocide, slavery, colonialism, war and revolution? Can novels produce a knowledge of the past?

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: American Gothic

100/10 TTh 12:30-2

K. Magowan 24 Wheeler

Areas of Concentration: 3; 6

Book List: Faulkner, W.: Absalom, Absalom!; Gilman, C.P.: "The Yellow Wallpaper"; James, H.: The Turn of the Screw; Hawthorne, N.: "The Birthmark"; Morrison, T.: Beloved; OíConnor, F.: Collected Stories; Poe., E.A.: Collected Stories; films, including Candyman and Blue Velvet

Course Description: This course will explore a genre of literature which proudly intended, as Frankenstein author Mary Shelley put it, "to awaken thrilling horrorÖcurdle the blood, and quicken the beatings of the heart." We will examine some familiar gothic tropes: unreliable, often menacing narrators; dark, collapsing houses closeting mysterious tenants; the grotesque; madwomen in attics (or, at least, upstairs bedrooms); incest; bodies that wonít stay dead. But we will find that these gothic fetishes adapt when transplanted to more modern narrative forms and to American soil. The ghosts which stalk characters become incarnations of a troubled, and uniquely American, history: a past which cannot be safely buried. The fact that the entities which haunt characters reveal themselves to be psychological hallucinations or embodiments of history does nothing to ease the intensity of their assault. We will see how the American gothic shuttles between an urgent need to express "itís because she wants it told" (Absalom, Absalom!) and to repress, to shut itself up: "this is not a story to pass on" (Beloved). For this course, you will write frequent short responses to the reading, one short paper (5 pages), and one longer paper (10 pages).

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Contemporary Scottish Fiction

100/11 TTh 12:30-2

M. Breitwieser 259 Dwinelle

Areas of Concentration: 1E; 2; 3

Book List: Scott, W.: Waverley; Spark, M.: The Prime of Miss Jean Brodie; Gray, A.: Lanark; Kelman, J.: How Late It Was, How Late; Welsh, I.: Trainspotting; Galloway, J.: The Trick Is to Keep Breathing; Warner, A.: Morvern Callar. One or two more titles may be added before the semester begins.

Course Description: Using Scott and Spark as historical background, our discussions will be focussed on close readings of representative works of Scottish fiction since the 70's. I am especially interested in the combination of naturalism and formal experimentation that emerges in these books, and in their connection to political and cultural developments within Scotland and between Scotland and the United Kingdom during this period. But I will encourage members of the class to take the discussion in other directions of interest as they like. Participation in discussion will be required of each student I don't expect this will be onerous as will two ten-page essays, one due at midterm, the other during finals week. Several of these works made heavy use of slang and dialect, so they're difficult to read until you get the hang of it. There's also a fair bit of cursing, sex, violence, which I mention as a warning to some who might be bothered, not as an enticement to others. Students enrolled in the class should prepare by doing some preliminary reading in Scottish history, particularly Scottish history after World War II, before the first class.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Ralph Ellison and William Faulkner

100/12 TTh 2-3:30

S. Best 251 Dwinelle

Areas of Concentration: 1E; 2; 3

Book List: Ellison, R.: Invisible Man, Juneteenth, Shadow and Act; Faulkner, W.: Go Down, Moses, Absalom, Absalom!, The Sound and the Fury

Course Description: In this course we will read some major works by Ralph Ellison and William Faulkner authors who took as a principal task the act of imagining "the South" in fiction. We will consider some of the thematic concerns and technical strategies by means of which these authors transformed a geography of nebulous borders into literary topoi of trauma, absence, and flight e.g. overlapping temporalities, repetition, and multiple perspectives and voices.

Student responsibility in this course will include the following: class participation; an oral presentation; and three 5-7 page papers.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

100/13 This section has been cancelled.

Junior Seminar: Reading Character

100/14 TTh 2-3:30

K. Puckett 221 Wheeler

Areas of Concentration: 1C or 1D; 3; 5

Book List: Austen, J.: Sense and Sensibility; Burney, F.: Evelina; Dickens, C.: Great Expectations; Flaubert, G.: Madame Bovary; Goethe: Wilhelm Meisterís Apprenticeship; James, H.: The Portrait of a Lady; Richardson, S.: Pamela; Shelley, M.: Frankenstein; Wilde, O.: Salome

Course Description: Although characters are everywhere, they remain one of the least understood aspects of the novel. In this course, we will work to pull apart a tangle of assumptions about interiority, privacy, gender, identification, and agency that give form to character in the eighteenth- and nineteenth-century novel. To this end, we will read a number of works that figure importantly in different accounts of the rise of the novel while considering how extraliterary concerns like psychology, etiquette, political economy, and ethics contributed to the way writers and their audiences thought about character. In addition to the primary texts, which we will read very closely, we will consider works of criticism and theory by Nancy Armstrong, Roland Barthes, Sigmund Freud, Diana Fuss, Deidre Lynch, Franco Moretti, and others. Requirements include regular attendance, participation, two short papers, and one longer essay (10-15 pages).

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

100/15

This section has been cancelled (7/25).

Junior Seminar: Emily Dickinson and the Victorian Novel

100/16 TTh 3:30-5

A.-L. Francois 254 Dwinelle

Areas of Concentration: 1D; 3; 4

Book List: Dickinson, E.: Complete Poems, Selected Letters; Dickens, C.: David Copperfield; Bront", E.: Wuthering Heights; Bront", C.: Jane Eyre; Howe, S.: My Emily Dickinson

Recommended Text: Dickinson, E. (H. & N. Smith): Open Me Carefully

Course Description: This seminar puts Emily Dickinson's poems and letters in dialogue with three Victorian novels Charles Dickens' David Copperfield, Emily Bront"'s Wuthering Heights, and Charlotte Bront"'s Jane Eyre. While Dickinson's life-story of seclusion within the paternal household has often been read as a female Gothic novel, Dickinson's writings also script alternative readings, scenes, and sequels to the popular Victorian novels of her time. Rather than read her poetry as simply autobiographical, we will highlight Dickinsonís wit as an interpreter of her contemporary fellow-writers and as a dramatist in her own right. The seminar will provide an opportunity to explore the dynamic interactions between lyric and narrative genres, and to compare transatlantic literary representations, experiences and discourses of slavery, colonialism, sexuality, class-conflict, race, and gender.

Course requirements will include active participation in seminar discussion, two short papers, and a long essay.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Re(sistance)/Emergence Contemporary Literature

by Native North American Women

100/17 TTh 3:30-5

H. Sweet Wong 251 Dwinelle

Areas of Concentration: 1E; 2; 4

Book List: Erdrich, L.: Jacklight, Love Medicine; Harjo, J.: She Had Some Horses, The Woman Who Fell from the Sky: Poems; Hogan, L.: Dwellings: A Spiritual History of the Living World, Mean Spirit; Power, S. The Grass Dancer; Silko, L.M.: Almanac of the Dead, Ceremony; Tapahonso, L.: Saainii Dahataal: The Women Are Singing; Walters, A.L.: Ghost Singer; a course reader

Course Description: We will focus on the prose and poetry of a select number of contemporary Native North American women writers (from within the U.S., not Canada). Key concerns of the course will be on how writers map themes central to contemporary Native American literatures: ceremonial healing, myth and history, orality and literacy, postmodern survival, internal colonialism, sovereignty, return, land-based narrative, community and individuality, "mixedblood" identity, geocentric subjectivity, storytelling as cultural continuity and political resistance, In addition, we will examine the literary, cultural, and regional influences on these writers and place their work in the context of Native American literatures specifically and U.S. literatures and global indigenous literatures, generally.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Note! Newly added section:

Junior Seminar: The Fictionalization of the American Sixties Novel or History?

100/18 MW 4-5:30

D. Richards 235 Dwinelle

Course Control #: 28735

Areas of Concentration: 1E; 3; 5; 6

Book List: Atwood, M.: The Handmaidís Tale; DeLillo, D.: Libra, Mao II; Mailer, N.: The Armies of the Night; OíBrien, T.: The Things They Carried, In the Lake of the Woods. There will also be a xeroxed reader containing excerpts from the works of Joan Didion, Todd Gitlin, Ken Kesey, Joyce Carol Oates, and Tom Wolfe, among others; some theoretical material on the novel; and newspaper reportage from the Sixties.

Course Description: In this course we will examine a number of fictionalized representations of the tumultuous liberal revolutions of America in the 1960s and the conservative counterrevolutions which brought them full circle by the 1980s. In comparing the ways in which the various texts for the course collapse the distinction between novel and history, we will consider to what degree the extreme nature of American culture in the Sixties particularly lent itself to expression via the so-called non-fiction novel, a literary form which sprang into prominence in this period. In examining the various ways that writers reshaped novelistic form to accommodate their own historical perspectives at a time when fact was more fantastic than fiction, we will read three non-fiction novels, a novelistic dystopia, and novels which use actual historical events and/or characters to provide the determinative background for the development of other, fictional characters. The readings for the course incorporate (to greater or lesser degree) aspects of significant historical issues and events of the period, such as the Kennedy assassination, Vietnam, the hippie counterculture, the feminist and civil rights movements, Christian fundamentalism and the explosion of cult movements which arose in response to the liberal excesses of the Sixties. We will also view Apocalypse Now, Francis Ford Coppolaís classic film on Vietnam, and Hearts of Darkness: A Filmmakerís Apocalypse, a metacritical documentary of the process of creating Apocalypse Now. We will locate the novels for the course in the tradition of post-modernismís metafictional preoccupations and consider the new role of the media, especially television news coverage, in creating history in a world of mass communications. To flesh out historical contexts, we will read secondary materials from a xeroxed reader and each student will present a short oral report.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Note! Newly added section:

Junior Seminar: Asian Character in Anglophone Fiction

100/19 MW 12-1:30

H. Levien 305 Wheeler

Course Control #: 29342

Areas of Concentration: 1E; 2; 3

Book List: Buck, P.: The Good Earth; Conrad, J.: Victory; Forster, E.M.: A Passage to India; Drabble, M.: The Gates of Ivory; Chang, N.P.: Bound Feet, Western Dress; Hagedorn, J.: Dogeaters; Tsukiyama, G.: The Samuraiís Garden; Hwang, D.H.: M. Butterfly; Cha, T. H.: Dictee; Fenkl, H.I.: Memories of My Ghost Brother; Rushdie, S.: Shame; Trinh, M.T.: Shoot for the Contents; a course reader

Course Description: In this course we will read various kinds of Anglophone fictions that have represented Asian characters, along with several articles discussing the role of these fictions in our postcolonial/postmodern period. Our eventual focus will be the recent experiments that artists have performed in response to judgments that many early representations are "racist" or "orientalist." We will analyze in some detail what various critics mean by these terms as applied to works of fiction and will consider how the standards for fiction might differ from those for works considered history, memoir, or ethnography. We will then look at some of the many innovative ways in which novelists have tried to represent Asian character.

While some novelists have decided to continue with the techniques of realism, a number have used alternative approaches to represent their characters to English-speaking populations whose composition is increasingly complex. We will discuss the role, for example, of the growing Asian American communities in the formation of more complicated fictive formulations of Asian identity. While not privileging modernist/postmodernist formulations, I want to consider the social and political conditions which have made very experimental expressions of Asian character possible only since late in the twentieth century.

A presentation on material not assigned for class and a short (2-3 page) prospectus for the final paper and a 20-25 page paper are required.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

Junior Seminar: Shakespeare and Film

100/20

K. Elliott

Seminars MW 12-1:30 in 222 Wheeler, plus film screenings W 6-9 P.M. in 221 Wheeler

Areas of Concentration: 1B; 3; 6

Book List: Shakespeareís The Taming of the Shrew, Romeo and Juliet, Othello, and Macbeth

Films Considered (some in part, some in entirety): The Taming of the Shrew: a hilarious slapstick version (1908), the 1929 film with Pickford and Fairbanks, a fifties made-for-TV version starring Charlton Heston, the Taylor-Burton film directed by Franco Zeffirelli, and Kiss Me Kate. Romeo and Juliet: the 1936 film with Leslie Howard and Norma Shearer, Zeffirelliís 1967 adaptation, West Side Story, Tromeo and Juliet, Baz Luhrmannís film, Romeo Must Die. Othello: several early silents, the 1922 silent with Emil Jannings, Orson Wellesí adaptation, Olivierís film, Branaghís version, Sergei Bondarchuckís film, O (2001), and the 2001 televization. Macbeth: the Orson Welles version, Polanskiís film, Kurosawaís Throne of Blood, Trevor Nunnís filmed play, Men of Respect, and a cartoon version for children

Course Description: We examine films and telefilms of four Shakespearean plays The Taming of the Shrew, Romeo and Juliet, Othello, and Macbeth spanning from 1908 to 2002. Requirements: regular attendance of and active participation in classes and screenings, oral presentation, midterm essay, major final research project, creative project, or academic essay.

Be sure to read the paragraph starting on page 1 of this Announcement of Classes regarding enrollment in English 100!

History of the English Language

101 TTh 11-12:30

K. Hanson 130 Wheeler

Area of Concentration: 7

Book List: Millward, C.: A Biography of the English Language, 2nd ed.

Recommended Texts: Pinker, S.: The Language Instinct; Crystal, D.: The Cambridge Encyclopedia of the English Language

Course Description: This course surveys the history of the English language from its Indo-European roots, through its Old, Middle, and Early Modern periods, to its different forms in use throughout the world today. Topics include changes in the core grammatical systems of phonology (sound structure), morphology (word structure) and syntax (sentence structure); in vocabulary; in writing and literary forms; and in the social position of English and its dialects.

Requirements: Three short research assignments, two midterm tests, a short paper, and a final exam.

The English Bible as Literature

C107 TTh 12:30-2

S. Goldsmith 120 Latimer

This course is cross-listed with Religious Studies C119.

Area of Concentration: 6

Book List: New Oxford Annotated Bible, Revised Standard Edition; Browning, W.R.F.: A Dictionary of the Bible

Course Description: In this class we will read a selection of biblical texts as literature, which means we will read them as anything other than divine revelation. We will take up traditional literary questions of form, style, and structure, but we will also learn how to ask political and theoretical questions of a text so thoroughly fissured and historically sedimented. Among other topics, we will pay special attention to how authority is rhetorically established and contested in biblical texts; how biblical authors negotiate the ancient Hebrew prohibition against representing God in images; and how the gospels are socially and historically poised between the original Jesus movement that is their source and the institutionalization of the church that follows. Assignments will include a take-home midterm and a final, perhaps more.

Course 110

This course has been cancelled. Note that Prof. Middleton will teach English
112 (see below) instead.

The following course was re-established on 6/18, with some modifications:

Middle English Literature

112 Note new time: TTh 9:30-11

Note new instructor and location: A. Middleton 130 Wheeler

Area of Concentration: 1A; 7

Book List: Burrow and Turville-Petre: A Book of Middle English; Langland, W.: Vision of Piers Plowman; Andrew and Waldron, eds.: Poems of the Pearl Manuscript

Course Description: This course will study Middle English both as a language and as a period of literary production. The first third of the course will introduce the language: its structure, vocabulary, and dialectal varieties, as well as the linguistic history that both created what we call "Middle English" and brought it to an end. During these first weeks, we will also be reading passages from several Middle English texts, starting with the most familiar (Chaucer) and moving through weirder and more challenging works. The rest of the semester will be given to reading the work of Chaucerís two greatest contemporaries: the author of Piers Plowman (William Langland) and the anonymous author of four poems surviving in a single manuscript ("the Gawain-poet"). There will be quizzes, an in-class midterm, a take-home midterm, and a final exam.

This course satisfies the pre-1800 requirement for the English major.

114A This course has been cancelled.

The English Renaissance: 17^th Century

115B TTh 2-3:30

S. Booth 30 Wheeler

Areas of Concentration: 1B; 3

Book List: Di Cesare, M., ed.: George Herbert and the Seventeenth-Century Religious Poets; Donne, J.: Complete English Poems; Maclean, H., ed.: Ben Jonson and the Cavalier Poets; Marvell, A: Complete Poems; Milton, J.: Paradise Lost

Recommended Texts: Bacon, F.: The Essays; Hill, C.: A Century of Revolution, 1603-1714

Course Description: Although I am putting a history book on the recommended list, this will be a course on works written in the first three quarters of the seventeenth century, not a course on the century itself.

I think I can teach you more about the seventeenth-century works I don't discuss in class by looking in detail at a few works than I could by moving fast over every poem assigned or by generalizing at length about either the particular qualities of particular authors or schools or by focusing on the particular qualities that characterize the culture that seventeenth-century literature reflects. I'm not good at categorizing, and I deeply mistrust categories.

The reading list will be heavily weighted toward verse. That's mainly because verse was what the seventeenth century did best, but also because I don't have much that is worth listening to to say about much seventeenth-century prose. We will probably read some Francis Bacon, but most of the reading will be of verse by Donne, Jonson, Herrick, George Herbert, Waller, Milton, Suckling, Lovelace, and Marvell. I want particularly to talk about things that most English majors have dealt with before;notably the most often assigned poems of Donne and Herbert and, most notably, Paradise Lost. (I realize that putting Paradise Lost on the reading list might put some people off taking the course. Such people have probably tried, or been asked to try, to read Paradise Lost as if it got the stock Sunday-school responses it sounds as if it's trying to get. Given a chance to read the poem as something other than a failed effort to versify its editors' footnotes, such people are likely to see how beautiful Paradise Lost is and to wish it longer.)

Three papers, each of a length determined by how much you have to say and how efficient you are in saying it. The third paper will take the place of a final examination and will be due on the day assigned this course for a final exam.

This course satisfies the pre-1800 requirement for the English major.

Shakespeare: The Elizabethan Shakespeare

117A TTh 2-3:30

J. Altman 100 GPB

Areas of Concentration: 1B; 3

Book List: Greenblatt, S., ed.: The Norton Shakespeare

Course Description: In this course we will be studying the development of Shakespeareís work in the theater through the beginning of the seventeenth century, culminating in Hamlet. Weíll also read many of his sonnets, which are related thematically to the plays and offer glimpses of the writer or the speaker envisioned by the writer as friend, lover, poet, and actor. Plays will include both popular and lesser-known comedies, histories, and tragedies, and weíll pay close attention to Shakespeareís language, the historical and social contexts in which he wrote, the specifically theatrical dimensions of his texts. Weíll view scenes on video to explore various interpretive possibilities. There will be two papers, two midterms, and a comprehensive final exam.

Shakespeare: Selected Plays

117S TTh 11-12:30

J. Knapp 1 LeConte

Areas of Concentration: 1B; 3

Book List: The Riverside Shakespeare

Course Description: This course is designed to give you a sense of the range of Shakespeareís career. Lectures will focus on two related topics: first, Shakespeareís ways of thinking about literary, political, social, religious, sexual, and philosophical issues through plot and character; second, Shakespeareís reasons for becoming an actor and playwright when much of English society regarded those professions as frivolous, low, and vaguely criminal.

121 This course has been cancelled (postponed till Spring 2003).

125A This course has been cancelled.

The European Novel: Dostoevsky, Tolstoy, and the English Novel

125C TTh 9:30-11

L. Knapp 101 Moffitt

This course is cross-listed with Slavic 132.

Areas of Concentration: 1D; 3; 4

Book List: Dostoevsky, F.: Netochka Nezvanova, The Idiot, Great Short Works; Tolstoy, L.: Childhood, Boyhood, Youth, Anna Karenina, Great Short Works; Bronte, C.: Jane Eyre; Eliot, G.: Middlemarch

Course Description: A close reading of works by Dostoevsky and Tolstoy in conjunction with two English novels. In "The Russian Point of View," Virginia Woolf notes that whereas an English novelist feels a "constant pressure" to recognize barriers, both ideological and formal, a Russian novelist appears to feel less restraint. The English novelist is "inclined to satire," the Russian to "compassion," the English to "scrutiny of society," and the Russian to "understanding of individuals themselves." As we read, we will look for both affinities and differences between nineteenth-century English and Russian novels.

The course consists of three units:

Coming of Age in Russia and England: We begin with three fictional coming-of-age narratives, written in the first person: Tolstoyís trilogy, Childhood, Boyhood, Youth; Dostoevskyís unfinished early novel, Netochka Nezvanova; and Charlotte Bronteís Jane Eyre. These works have a striking number of common morphological and thematic features.

Love and Death in the Russian and English Novel: We will read Dostoevskyís The Idiot, George Eliotís Middlemarch, and Tolstoyís Anna Karenina. Particular attention will be given to stylistic and formal features of these complex novels and to their treatment of philosophical questions and social issues, especially the status of women.

The Russian Point of View: Interior Monologue and Innovations in Poetics. We end with two short stories, Dostoevskyís "A Gentle Creature" and Tolstoyís "The Kreutzer Sonata," which are remarkable for their narrative style, as well as what they say about love and marriage. These stories are used to highlight the contrasts between Dostoevsky and Tolstoy and to help to define the Russian point of view.

Workload: one paper, short assignments, midterm, final exam.

Modern Poetry

127 MWF 3-4

B. Glaser 101 Morgan

Areas of Concentration: 1E; 3

Book List: Stein, G.: Tender Buttons; Williams, W.C.: Spring and All; Toomer, J.: Cane; Crane, H.: The Bridge; Stevens, W.: "Notes Toward a Supreme Fiction" and "EsthÈtique du Mal"; Berryman, J.: The Dream Songs; Duncan, R.: The Opening of the Field and Bending the Bow; Hass, R.: Human Wishes; Carson, A.: Eros the Bittersweet; Sze, A.: The Redshifting Web; a course reader

Course Description: What does poetry have to do with freedom of speech? Poems not only speak to us but teach us to punctuate what we think we are saying differently. They hatch ideas about how we might be more free. We will look at some revolutionary and substantial volumes of poetry of the twentieth century in America to see how they might make us new. Requirements will include two papers, one midterm, a final, and a creative project.

The Making of Americans: U.S. Fiction from 1865 to 1914

130C TTh 3:30-5

K. Snyder 126 Barrows

Areas of Concentration: 1D or 1E; 2; 3

Readings for the course will include many of the following: Twain, M.: The Adventures of Huckleberry Finn; Gates, H, ed.: Three Negro Classics; James, H: The Turn of the Screw; Chopin, K.: The Awakening; Wharton, E.: The House of Mirth; Crane, S.: Maggie: A Girl of the Streets. There will also be a photocopied reader of shorter writings by Charles Chesnutt, Paul Laurence Dunbar, Pauline Hopkins, Jessie Fauset, Charlotte Perkins Gilman, Jacob Riis, Theodore Dreiser, Willa Cather, Finley Peter Dunne, Bret Harte, Frank Norris, Jack London, and Sui Sin Far.

Course Description: We will read a diverse selection of writing, predominantly prose fiction, published in the U.S. between the Civil War and World War I, a period of rapid urbanization, industrialization, and (im)migration that gave rise to new cultural figures such as The New Negro, the New Woman, and the New Immigrant. The course will be organized into three thematic units: the so-called "Negro Problem" (concerning representations of African Americans in the Post-Reconstruction era); the "Woman Question" (concerning representations of elite, native-born, white women in the age of the New Woman); and the "New Immigration" (concerning representations of Irish and Chinese immigrants in a period of intense nativism). Each unit will include texts by writers who considered themselves members of these cultural groups as well as texts by those who did not. We will ask what plot trajectories and narrative stances were available and/or negotiable for mapping these cultural identities, both from within and without.

In addition to written essays, there will be frequent short quizzes testing knowledge of material from readings and lecture; regular attendance and active participation in discussions are required.

American Literature: 1900-1945

130D MWF 11-12

R. Loewinsohn 160 Kroeber

Area of Concentration: 1E

Book List: Barnes, D.: Nightwood; Faulkner, W.: Light in August; Hemingway, E.: The Sun Also Rises; Hurston, Z. N.: Their Eyes Were Watching God; Williams, W. C.: Pictures from Brueghel; Wright, R.: Native Son; and a course reader, containing most of the poetry weíll be reading, along with some supporting materials

Course Description: This will be a quick survey of some of the major figures in Modern American literature, focusing in part on the development of some of the important themes, literary forms, and styles that characterize Modernism in American literature. We will pay special attention to the various ways in which Modernist writers negotiated between two contradictory premises of the period, the Aestheticistsí "Art can save you" and the Realistsí "Art can kill you." In addition, we will ask, among other things, how this literature is "American" and also how it's "Modern." We will also try to ask some questions about "the canon," such as: How did this list of writers come to constitute "Modernism"? The material will not be considered chronologically. Rather, after a brief introduction to some key statements by Walter Pater and Henry James, we will alternate between poetry and prose fiction. We will first look at those Modernist American writers who expatriated, mostly to Europe, and then turn to those American Modernist writers who "stayed home." The course will consist mostly of lectures, though I'll try to accommo�date as much discussion as the class size will allow.

Course Requirements: Two short papers (6-8pp each) and a final exam. The two short papers, averaged together, will account for 60% of your final grade. A final exam will account for the remaining 40%. More de�tailed instructions and suggested paper topics will be distributed in the second week of classes.

Topics in African American Literature and Culture:

Black Atlantic Writers

133T TTh 2-3:30

S. Hartman 126 Barrows

Area of Concentration: 2

Book List: Cugoano, O.: Thoughts and Sentiments on the Evil of Slavery; Equiano, O.: The Interesting Narrative of the Life of Olaudah Equiano; Walker, D.: Appeal and Garnet, H.H.: Address; Douglass, F.: Narrative of the Life of Frederick Douglass, My Bondage and My Freedom; Ferguson, F., ed.: The History of Mary Prince; Jacobs, H.: Incidents in the Life of A Slave Girl; Watkins, F.E.: Iola Leroy; DuBois, W.E.B.: The Souls of Black Folks; Johnson, J.W.: Autobiography of an Ex-Coloured Man; Toomer, J.: Cane; Hurston, Z.N.: Their Eyes Were Watching God

Course Description: This introductory course examines 18th, 19^th, and early 20th century literature from Africa, England, and the Americas. The course is both a historical survey of black Anglophone literature and an extended engagement with questions of black letters and slavery, race and representation, and the politics of literary form. The themes to be considered are literacy and black humanity, dissent and strategies of subversion in black letters, autobiography and the fashioning of a public self, the quicksand of racial and sexual representation in the writing of the Harlem Renaissance, modernism and vernacular expression, and the question of a black aesthetic. The course materials include slave narratives, political pamphlets, essays, novels, and autobiographies.

Literature of American Cultures:

Native American, African American, and European American Literature, 1865-1917

135AC MWF 11-12

R. Hutson 2040 Valley LSB

Areas of Concentration: 1D; 2; 3

Book List: Callahan, A.: Wynema; Chesnutt, C.: The House Behind the Cedars; Chopin, K.: The Awakening; Crane, S.: Maggie; Eastman, C.: From the Deep Woods to Civilization; Harper, F.: Iola Leroy; Hopkins, S.W.: Life Among the Piutes; James, H.: Daisy Miller; Washington, B.T.: Up From Slavery

Course Description: This is a course on Native American, African American and European American writers in the Gilded Age, roughly from the end of the Civil War to the beginning of World War I. I am especially interested in these writersí responses to the extensive and pervasive economic, political, and cultural transformations of the period, a period of massive dislocation and disorientation for almost any ethnic group. I am going to present these authors chronologically rather than thematically or as ethnic groups, so that there will be constant interweaving of themes and ideas. I am planning on two in-class midterms and a final exam.

This course satisfies U.C. Berkeleyís American cultures requirement.

American Studies: The Fifties

C136 MWF 2-3

R. Loewinsohn New classroom: 50 Birge

This course is cross-listed with American Studies C111E.

Areas of Concentration: 1E; 6

Required Reading: Burroughs, W.S.: Naked Lunch; Ellison, R.: Invisible Man; Ginsberg, A.: Howl; Metalious, G.: Peyton Place; Salinger, J.D.: The Catcher in the Rye; Williams, T.: A Streetcar Named Desire

Required Movies: Invasion of the Body Snatchers; The Long Walk Home; The Man in the Grey Flannel Suit; A Streetcar Named Desire; The Searchers; Rebel Without a Cause. All these movies are available from the Media Resource Center in Moffitt Library, at no cost. They are also available from local video stores, at reasonable rental cost. It will be each studentís responsibility to view the movies attentively enough to discuss them in class by the dates we are scheduled to discuss them. (Please note that we will study both the play script version and the film version of A Streetcar Named Desire, as a way of attempting to understand the censorship practices of the fifties.)

Course Description: This class will explore the American 1950's through a sampling of history, literature, movies, and the popular culture of the decade, trying to understand some of its contradictions. A period of massive conformity ("The Man in the Grey Flannel Suit"), it also produces prophets and rebels (Ginsberg, Williams, Burroughs); a time of repression and apartheid, it also produces the civil rights movement and Brown vs Board of Education. We will try to understand the kinds and causes of Cold War paranoia, and some of the cruel consequences of truly massive mass production. We will try to appreciate how the experience of World War II its lessons and its traumas continued to affect Americans in the 1950's.

Required Writing: Two short papers (6-8pp) and a final exam. The second term paper may take the form of a further development of a topic you began in your first paper. The exam will concentrate on the classís discussion. The two short papers, averaged together, will count for 60% of your grade, and the final exam will count for the remaining 40%.

137B This course has been cancelled.

Short Fiction

143A/1 MW 4-5:30

E. Avery 211 Dwinelle

Areas of Concentration: None

Book List: Eady, C.: You Donít Miss Your Water; Rilke, R.M.: Letters to a Young Poet

Course Description: Sources and Resources for Creative Writers. This course, while serving as a workshop for developing new writing, also affords a broad and careful look at different ways creative writers form community. Writers learn by reading and re-reading; they respond to one anotherís work; they collaborate with other artists; they publish stories and book reviews; they start magazines and presses. Work for this class includes producing a 20-page creative project and publishing a small edition of another writerís new work. While taught with a fiction writerís bent, this course is also open to writers pursuing poetry and creative non-fiction. Attendance, participation, and all assignments are mandatory.

To be considered for admission to this class, please submit 2 to 3 photocopied pages of your writing (fiction, poetry, or creative non-fiction), along with an application form, to Professor Averyís mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Short Fiction

143A/2 TTh 2-3:30

B. Mukherjee 305 Wheeler

Areas of Concentration: None

Book List: Cassill, R.V. and J.C. Oates, eds.: The Norton Anthology of Contemporary Fiction; Mukherjee, B.: The Middleman and Other Stories

Course Description: This is a course on the form, theory, and practice of short fiction. It will be conducted as a workshop. Students are required to fulfill assignments on specific aspects of craft, to analyze aesthetic strategies in selected short stories by published authors, and to write approximately 45 pages of original fiction. Students are also required to participate in workshop discussions of peers' manuscripts.

To be considered for admission to this class, please submit 15 photocopied pages of your fiction (no poems, plays, or academic writing), along with an application form, to Professor Mukherjeeís mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Verse

143B/1 MW 10:30-12

J. Shoptaw 301 Wheeler

Areas of Concentration: None

Book List: A course reader

Course Description: In this course you will conduct a progressive series of experiments in which you will explore the fundamental options for writing poetry today aperture, partition, closure; sentence and line; image and figure; short and long free verse; measured and rhymed verse; graphics and poem space; poetic forms (haibun, villanelle, sestina, pantoum, ghazal, etc.); the first, second, third, and no person (persona, address, drama, fiction, description); prose and prosaic poetry; reflexivity and poetics. Our emphasis will be placed on recent innovations, with an eye and ear always to renovating traditions. You will write a poem a week, and weíll discuss several in class; on alternate days, weíll discuss examples drawn from a course reader, a journal (Conjunctions 35), and the web. It will be delightful.

To be considered for admission to this class, please submit five photocopied pages of your poems, along with an application form, to Professor Shoptawís mailbox in 322 Wheeler, BY 4:00 P.M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Verse

143B/2 TTh 3:30-5

R. Hass 301 Wheeler

Areas of Concentration: None

Book List: Norton Anthology of Poetry, longer edition; Strand, M. and E. Boland, eds.: The Making of a Poem: A Norton Anthology of Poetic Forms; Hass, R.: The Essential Haiku

Course Description: A workshop for writing poetry, and reading and discussing contemporary poetry and poetics.

To be considered for admission to this class, please submit five of your poems or eight pages of your poems (whichever is less, and photocopies, not originals), along with an application form, to Professor Hassís mailbox in 322 Wheeler BY 4:00 P.M., APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Verse

143B/3 TTh 11-12:30

C. Snow 305 Wheeler

Areas of Concentration: None

Book List: Hass, R., ed.: The Best American Poetry 2001

Course Description: A workshop for writing, reading, discussing, and revising original poetry. We will not turn to perfecting the given poem until revisions have played with some of the possible range of form (length, shape, order, rhythm; levels of detail, abstraction, etc.) as suggested by exercises and/or interesting/delicious readings in the required text and handouts. Also required: attentive participation in class meetings, the submission of one new poem or two revisions weekly plus some written commentary, a class presentation, the nerve to look closely at your own work as well as othersí, a willingness to bend the poem out of shape to see what it might spring toward or back into.

To be considered for admission to this class, please submit 5 photocopied pages of your poetry (no more than one poem per page) plus one additional page which notes, very briefly, each poemís history (how recent? written in and/or revised according to a prior workshop or instructor? your own critical or approving comments, if any), along with an application form, to Professor Snowís mailbox in 322 Wheeler BY 4:00 P. M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Prose Nonfiction: The Personal Essay

143N/1 TTh 11-12:30

B. Mukherjee 301 Wheeler

Areas of Concentration: None

Book List: Atwan, R., ed.: The Best American Essays

Course Description: This course concentrates on the practice of creative non-fiction, particularly on the writing of the personal essay. Students are required to fulfill specific assignments and to write approximately 45 pages of non-fictional narrative. Format of course: workshop. Participation in the twice-weekly workshops is mandatory.

To be considered for admission to this class, please submit 15 photocopied pages of your non-fiction writing (no academic essays), along with an application form, to Professor Mukherjeeís mailbox in 322 Wheeler, BY 4:00 P.M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Prose Nonfiction

143N/2 TTh 2-3:30

M. Hong Kingston 301 Wheeler

Areas of Concentration: None

Book List: Eisley, L.: Immense Journey; Kingston, M.H.: China Men; Mailer, N.: Armies of the Night; Williams, W.C.: In the American Grain; Woolf, V.: Room of Oneís Own

Course Description: This is a workshop course that will consist of reading and writing nonfiction works. Each student will write a portfolio of 50 pages and will have the opportunity to read some of it aloud to the class for response and discussion.

To be considered for admission to this class, please submit 10 photocopied pages of your writing, along with an application form, to Professor Kingstonís mailbox in 322 Wheeler BY TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information regarding enrollment in such courses!

Prose Nonfiction: Writing a Story

143N/3 Tues. 3:30-6:30

P. Najarian 370 Bancroft Library

(Krouzian room)

Areas of Concentration: None

Book List: A course reader

Course Description: Writing a Story, a workshop in creative non-fiction and fiction, with a warm welcome to anyone who would like to use personal history or history in general, especially with a background in foreign lands. This course is also offered as part of the Armenian Studies Program, and as such it will involve themes common among those who have descended from an exile due to genocide or war or any other kind of hardship, as well as native themes of assimilation or alienation. It will focus on shaping a story from both history and imagination, and it will refer to different forms of narratives, such as memoirs, to explore how these two are connected.

All students will be expected to write each week and to share their work at least twice in the seminar, as well as to complete a narrative of at least fifteen pages by the end of the semester. Special attention will be given to first drafts and revisions.

To be considered for admission to this class, please submit a 3-to-5-page photocopied sample of your writing (a sample of the kind of writing you want to do for the class, or an autobiography), along with an application form, to Professor Najarianís mailbox in 322 Wheeler Hall BY 4:00 P.M., TUESDAY, APRIL 23, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 2 of this Announcement of Classes for further information on enrollment in such courses!