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English

Please check the English Department website for up-to-date information on course offerings

http://www.dartmouth.edu/~english/

SECTION I: NON-MAJOR COURSE

7. First-Year Seminars in English

Consult special listings

8. Readings in English and American Literature

10S: 11 11S: Arrange

Readings in English and American literature. The course is intended principally for students who are not majoring in English. It does not carry major credit. Writing requirements will be limited to tests and brief exercises. To be offered periodically, but with varying subject matter.

In 10S at 11 (section 1), Journalism: Literature and Practice. This course will explore the role of print journalism in shaping the modern American literary, cultural and political landscape—from Nellie Bly’s late 19th century undercover exposure to Seymour Hersh’s coverage of the Iraq War. Students will also participate in an intensive weekly workshop on reporting and writing, with a short unit on radio commentary. This course does not carry English major credit. Dist: LIT; WCult: W. Jetter.

9. Composition: Theory and Practice (Identical to, and described under, Writing 9)

11S: Arrange

This course does not carry English major credit. Dist: ART. Gocsik.

SECTION II: MAJOR COURSES

12. Introduction to Literary Study

10W: 10 11W: Arrange

This course introduces the student to the aims, assumptions and methodologies of reading and the study of literature. This course is designed as an introductory course to the English literature major and other literature and humanities majors. Students must complete Writing 5 before enrolling in English 12. Texts may include theory, history of literature, and will be drawn from at least two genres and historical periods. No course group or CA tag designation. Dist: LIT. Will, Edmondson.

14. Introduction to Criticism

Not offered in 2009-2010, may be offered in 2010-2011

A historical and formal introduction to literary criticism as a 20th-century discipline, with primary emphasis on English and American contributors. Leading critical figures and critical approaches will be considered; some important critical terms will be reviewed; and students will be given practice in close reading and textual interpretation. Selections from the work of some or all of the following may be included: T.S. Eliot, I.A. Richards, Cleanth Brooks, Kenneth Burke, William Wimsatt, Northrop Frye, Wayne Booth, Paul de Man, Stanley Fish, Harold Bloom, Barbara Johnson, Eve Kosofsky Sedgwick, and Henry Louis Gates. Complementing English Department courses in particular literary periods, topics, and authors, this course is strongly recommended for majors. Dist: LIT. Course Group IV. CA tag Literary Theory and Criticism. Crewe.

15. Introduction to Literary Theory

09F: 12 10F: Arrange

The course will introduce students to some of the leading texts, concepts, and practices of what has come to be known as theoretical criticism. Topics to be considered may include some of the following: structuralism, deconstruction, psychoanalysis, feminism, new historicism, post-colonialism, post-modernism, queer theory, and cultural studies. Attention will also be given to historical and institutional contexts of this criticism. Intended to provide a basic, historically informed, knowledge of theoretical terms and practices, this course should enable students to read contemporary criticism with understanding and attempt theoretically informed criticism themselves. Dist: LIT. Course Group IV. CA tag Literary Theory and Criticism. Boggs, Edmondson, McKee, Travis, Will.

16. Old and New Media

10S: 10A 11S: Arrange

A survey of the historical, formal, and theoretical issues that arise from the materiality and technology of communication, representation, and textuality. The course will address topics in and between different media, which may include oral, scribal, print, and digital media. Readings and materials will be drawn from appropriate theorists, historians, and practitioners, and students may be asked not only to analyze old and new media, but also create with them. Dist: LIT. Course Group IV. CA tags Cultural Studies and Popular Culture, Literary Theory and Criticism. Evens, Halasz.

17. Introduction to New Media

Not offered in 2009-2010, may be offered in 2010-2011

This course introduces the basic ideas, questions, and objects of new media studies, offering accounts of the history, philosophy, and aesthetics of new media, the operation of digital technologies, and the cultural repercussions of new media. A primary emphasis on academic texts will be supplemented by fiction, films, music, journalism, computer games, and digital artworks. Class proceeds by group discussion, debate, student presentations, and peer critique. Typical readings include Alan Turing, Friedrich Kittler, Ray Kurzweil, and Henry Jenkins, plus films such as Blade Runner and eXistenZ. Dist: ART. Course Group III. CA tags Cultural Studies and Popular Culture, Literary Theory and Criticism. Evens.

18. A History of the English Language (Identical to and described under Linguistics 18)

10W: 10 11W: Arrange

Dist: SOC. Course Group IV. CA tags Cultural Studies and Popular Culture, Literary Theory and Criticism, National Traditions and Countertraditions. Otter, Pulju.

19. Anglo-Saxon and Scandinavian Epic and Saga

10W: 2A 11W: Arrange

An introduction both to Old English literature and to Old Norse sagas. In the first half of the course we concentrate on reading, translating and setting into cultural context selected Anglo-Saxon poems, most notably ‘The Wanderer,’ ‘The Dream of the Rood,’ and ‘Beowulf.’ In the second half of the course we read a variety of Old Norse sagas, including ‘Egil’s Saga,’ ‘The Saga of the People of Laxardal,’ and two shorter sagas recounting contacts with North America. In addition to papers and reports, we’ll discuss the new film ‘Beowulf,’ and each student will write a mini-version of a Norse saga. Dist: LIT; WCult: W. Course Group I. CA tags National Traditions and Countertraditions, Genre-narrative. Otter, Travis.

20. Chaucer: The Canterbury Tales

09F: 11 10F: Arrange

An introduction to Chaucer, concentrating on ten of the Canterbury Tales, and studying him as a social critic and literary artist. Special attention will be paid to Chaucer’s language, the sounds of Middle English, and the implications of verse written for the ear. Dist: LIT; WCult: W. Course Group I. CA tags Genre-poetry, Genders and Sexualities. Edmondson, Otter, Travis.

21. Chaucer’s Troilus and Criseyde and Other Poems

Not offered in 2009-2010, may be offered in 2010-2011

A study of Chaucer’s major works other than the Canterbury Tales, focusing on some of the early dream visions (Book of the Duchess, House of Fame) and Troilus and Criseyde, which many consider to be the greatest love epic in the English language. Some attention will be given to the French and Italian context of these works (in translation). No familiarity with Middle English is required. Dist: LIT; WCult: W. Course Group I, CA tags Genre-poetry, Genre-narrative. Edmondson, Otter, Travis.

22. Medieval English Literature

10S: 10A 11S: Arrange

An introduction to the literature of the “Middle English” period (ca. 1100- ca. 1500), concentrating on the emergence of English as a literary language in the twelfth and early thirteenth centuries and on some of the great masterworks of the late fourteenth century. Readings will include early texts on King Arthur, the Lais of Marie de France, the satirical poem The Owl and the Nightingale, the romance Sir Orfeo, Pearl, and Sir Gawain and the Green Knight, the Book of Margery Kempe, and The York Cycle. Most readings in modern English translation, with some explorations into the original language. Dist: LIT; WCult: W. Course Group I. CA tags Cultural Studies and Popular Culture, National Traditions and Countertraditions. Edmondson, Otter, Travis.

23. The English Renaissance

Not offered in 2009-2010, may be offered in 2010-2011

English verse and prose of the sixteenth century: a study of Wyatt, Gascoigne, Nashe, Marlowe, Sidney, Spenser, Shakespeare, and others in the cultural context of Tudor England. The course will investigate issues of classical and European influence, publication, and courtly patronage, especially under the auspices of a female ruler (Elizabeth I). Dist: LIT; WCult: W. Course Group I. CA tags Genders and Sexualities, Genre-poetry. Crewe, Halasz.

24. Shakespeare I

10W: 12 10X, 11W: Arrange

A study of about ten plays spanning Shakespeare’s career, including comedies, histories, tragedies, and romances. Attention will be paid to Shakespeare’s language; to his dramatic practices and theatrical milieu; and to the social, political, and philosophical issues raised by the action of the plays. Videotapes will supplement the reading. Exercises in close reading and interpretative papers. Dist: LIT; WCult: W. Course Group I. CA tag Genre-drama. Boose, Crewe, Halasz, Luxon.

26. English Drama to 1642

Not offered in 2009-2010, may be offered in 2010-2011

A study of commercial theater in London from about 1570 until the closing of the theaters in 1642. Anonymous and collaborative plays will be read as well as those by such playwrights as Kyd, Marlowe, Dekker, Jonson, Webster, and Ford. The course will focus on the economic, social, political, intellectual, and theatrical conditions in which the plays were originally produced, on their continuing performance, and on their status as literary texts. Research into the performance history of a play or participation in a scene production is required. Dist: LIT; WCult: W. Course Group I. CA tags Genre-drama, Genders and Sexualities. Boose, Halasz.

27. The Seventeenth Century

Not offered in 2009-2010, may be offered in 2010-2011

English poetry and prose from 1603 to 1660. Primary focus on major lyric tradition including poems by John Donne, Ben Jonson, Mary Wroth, George Herbert, Andrew Marvell, Richard Crashaw, Henry Vaughan, and John Milton. Secondary focus on significant prose works of intellectual history (Francis Bacon, Robert Burton) and political controversy (debates about gender and/or political order). Dist: LIT; WCult: W. Course Group I. CA tag Genre-poetry. Crewe, Luxon.

28. Milton

Not offered in 2009-2010, may be offered in 2010-2011

A study of most of Milton’s poetry and of important selections from his prose against the background of political and religious crises in seventeenth-century England. Dist: LIT; WCult: W. Course Group I. CA tags Genre-poetry, Genders and Sexualities. Luxon.

29. English Literature 1660-1714, Including Drama

Not offered in 2009-2010, may be offered in 2010-2011

A survey of English literary culture in the reigns of the later Stuart monarchs. Poetry by Dryden, Marvell, Rochester, Butler, Oldham and Pope; biographical writing by Aubrey, Halifax, Lucy Hutchinson, and Margaret Cavendish; the diaries of Pepys and Evelyn; spiritual autobiography and religious fiction by Bunyan; prose satires and analytical prose of Swift and Halifax. Within the survey there will be two areas of special attention: the theatre and the literary response to public events. We will read three plays by such authors as Dryden, Wycherley, Congreve, Lee, Behn, Shadwell, Otway and Farquahar, and study the writing in response to such events as the Great Plague and Fire of 1666, the Popish Plot, and the Exclusion Crisis. Dist: LIT; WCult: W. Course Group II. CA tag Genre-drama. Cosgrove.

30. Age of Satire

Not offered in 2009-2010, may be offered in 2010-2011

Visit the great age of British Satire. In a time when literacy was rapidly expanding, party politics was emerging and women’s rights were being advocated in print for the first time, satire ruled the literary scene. This course will explore the plays, poems, and novels of satirists from the libertine Earl of Rochester to the great satirist, Alexander Pope, not omitting the works of Aphra Behn, the first woman dramatist, and Mary Astell’s sardonic comments on the role of women in marriage. May include: the comedies of Wycherey and Congreve, Gulliver’s Travels by Jonathan Swift, and the novels of Daniel Defoe. There will be an opportunity to study the techniques of satire and its role in social and personal criticism. Dist: LIT; WCult: W. Course Group II, CA tag National Traditions and Countertraditions. Cosgrove.

31. Reason and Revolution

09F: 10A 10F: Arrange

Was there a British Enlightenment? In the age of the American and French Revolutions Britain seemed to hold steady. But in the literature of the period there are many social and literary struggles which took their tolls in the madness and suicide of writers such as Smart and Chatterton, the difficulties of attaining creative freedom, and the emergence of new literary forms such as the Gothic. This course will trace the fortunes of writers such as Samuel Johnson, James Boswell, Oliver Goldsmith, and Edmund Burke as they grapple with the anxieties of their time. We will also consider how women thinkers and novelists such as Charlotte Lennox and Mary Wollstonecraft forge new roles for themselves and we may include studies of the novel of political paranoia as exemplified by Caleb Williams, and by Wollstonecraft’s father, William Godwin. Dist: LIT; WCult: W. Course Group II, CA tags National Traditions and Countertraditions, Genre-narrative. Cosgrove, Cummings.

32. The Rise of the Novel

Not offered in 2009-2010, may be offered in 2010-2011

A study of the eighteenth-century English novel, with emphasis on formal variations within the genre as well as on interrelations of formal, political, and psychological elements of the narratives. Reading may include works by Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Tobias Smollett, Oliver Goldsmith, Frances Burney, and Elizabeth Inchbald, as well as twentieth-century criticism. Dist: LIT; WCult: W. Course Group II. Genre-narrative. Cosgrove.

34. Romantic Literature: Writing and English Society, 1780-1832

10W: 10 11W: Arrange

This course offers a critical introduction to the literature produced in Britain at the time of the Industrial Revolution, the French Revolution, and the Napoleonic wars. There will be a strong emphasis throughout the course on the specific ways in which historical forces and social changes shape and are at times shaped by the formal features of literary texts. The question of whether romantic writing represents an active engagement with or an escapist idealization of the important historical developments in this period will be a continuous focus. Readings include works by Blake, Wordsworth, Helen Maria Williams, Edmund Burke, Thomas Paine, Mary Wollstonecraft, Robert Southey, Coleridge, Percy Shelley, Mary Shelley, Keats, and Clare. Dist: LIT; WCult: W. Course Group II. CA tag National Traditions and Countertraditions. McCann, Will.

36. Victorian Literature and Culture, 1837-1859

Not offered in 2009-2010, may be offered in 2010-2011

This course examines early Victorian poetry, prose and fiction in the context of cultural practices and social institutions of the time. We will locate cultural concerns among, for example, those of capitalism, political reform, scientific knowledge, nation and empire. And we will consider revisions of space, time, gender, sexuality, class, and public and private life that characterized formations of British identity during this period. Texts may include work by Charles Dickens, Thomas Carlyle, Elizabeth Barrett Browning, Charlotte Bronte, John Ruskin, Charles Darwin. We will also read selections from recent criticism of Victorian culture. Dist: LIT; WCult: W. Course Group II. CA tags Cultural Studies and Popular Culture, National Traditions and Countertraditions. McCann, McKee, Gerzina.

37. Victorian Literature and Culture, 1860-1901

Not offered in 2009-2010, may be offered in 2010-2011

This course examines later nineteenth-century British poetry, prose and fiction in the context of cultural practices and social institutions of the time. We will locate cultural concerns among, for example, those of capitalism, political reform, scientific knowledge, nation and empire. And we will consider revisions of space, time, gender, sexuality, class, and public and private life that characterized formations of British identity during this period. Texts may include work by George Eliot, Matthew Arnold, Christina Rossetti, Algernon Swinburne, Thomas Hardy, Rudyard Kipling. We will also read selections from recent criticism of Victorian culture. Dist: LIT; WCult: W. Course Group II. CA tags Cultural Studies and Popular Culture, National Traditions and Countertraditions. Gerzina, McCann, McKee.

38. The Nineteenth-Century English Novel

09F: 12 10F: Arrange

A study of the nineteenth-century novel focusing on the Victorian novel’s representation of public and private categories of experience. Readings may include Shelley’s Frankenstein, Emily Brontë’s Wuthering Heights, Thackeray’s Vanity Fair, Dickens’ Bleak House, George Eliot’s Middlemarch, Mrs. Henry Wood’s East Lynne and Thomas Hardy’s The Return of the Native. Dist: LIT; WCult: W. Course Group II. CA tags Genre-narrative, National Traditions and Countertraditions. Gerzina, McKee.

39. Early American Literatures: Conquest, Captivity, Cannibalism

Not offered in 2009-2010, may be offered in 2010-2011

The “invention” of America changed the world forever and precipitated the beginning of the modern era. This course explores that invention, covering the period of about 1500 to 1800 and surveying a wide range of cultural attitudes towards the imagination, exploration, and settlement of the Americas: Native American, Spanish, French, and English. Our reading, including oral tales, letters, diaries, captivity narratives, poetry, personal narratives, political tracts, and secondary criticism, will focus on the themes of conquest, captivity, cannibalism in the shaping of a particularly “American” identity. We will use historical sources and early books and manuscripts to illuminate attitudes towards power, identity, race, gender, and nature prevailing in the multicultural landscape of the early Americas that shaped the emerging literature and culture of British North America. We will also look at recent cinematic representations of this early period in our examination of the shifting and contentious meaning of “America.” Dist: LIT; WCult: W. Course Group I. CA tags Multicultural and Colonial/Postcolonial Studies, National Traditions and Countertraditions. Schweitzer.

40. American Poetry

09F: 10A 10F: Arrange

A survey of American poetry from the colonial period to the early decades of the twentieth century. Readings may include works by Bradstreet, Taylor, Wheatley, Emerson, Poe, Whitman, Dickinson, Melville and Dunbar. We may also study Native American poetry and schools like the Fireside Poets, 19th-century women poets, and precursors of early Modernism and the Harlem Renaissance. We will look at lyric, meditative, religious, comic and political poetry, the long poem and the epic. Some themes we might trace include the transatlantic character of American poetry, its “newness,” its engagement with religion and self-definition, with nature, and with gender and race. Emphasizing close readings as well as historical and cultural contexts, this course examines the complexities of an American poetic vision and serves as an introduction to reading poetry and to American literature. Dist: LIT; WCult: W. Course Group II. CA tags Genre-poetry, National Traditions and Countertraditions. Schweitzer.

41. American Prose

10W: 11 11W: Arrange

Readings of nonfiction narratives by such American writers as Franklin, Emerson, Thoreau, Henry Adams, Gertrude Stein, Hemingway, and Jack Kerouac. Dist: LIT; WCult: W. Course Group II. CA tags Genre-narrative, National Traditions and Countertraditions. Boggs, Chaney, Renza.

42. American Fiction to 1900

10W: 12 11W: Arrange

A survey of the first century of U.S. fiction, this course focuses on historical contexts as well as social and material conditions of the production of narrative as cultural myth. The course is designed to provide an overview of the literary history of the United States novel from the National Period to the threshold of the Modern (1845-1900). To do justice to the range of works under discussion, the lectures will call attention to the heterogeneous cultural contexts out of which these works have emerged as well as the formal and structural components of the different works under discussion. In keeping with this intention, the lectures include the so-called classic texts in American literature The Last of the Mohicans, Moby Dick, The Scarlet Letter, The Narrative of the Life of Frederick Douglass, but also the newly canonized Uncle Tom’s Cabin, Incidents in the Life of a Slave Girl, Life in the Iron Mills, Hope Leslie in the hope that the configuration of these works will result in an understanding of the remarkable complexity of United States literary culture. Dist: LIT; WCult: W. Course Group II. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture. Boggs, Pease, Renza.

43. Early Black American Literature (Identical to African and African American Studies 34)

09F: 10 10F: Arrange

A study of the foundations of Black American literature and thought, from the colonial period through the era of Booker T. Washington. The course will concentrate on the way in which developing Afro-American literature met the challenges posed successively by slavery, abolition, emancipation, and the struggle to determine directions for the twentieth century. Selections will include: Wheatley, Life and Works; Brown, Clotel; Douglass, Narrative; Washington, Up from Slavery; DuBois, Souls of Black Folk; Dunbar, Sport of the Gods; Chestnut, House Behind the Cedars; Harriet Wilson, Our Nig; Johnson, The Autobiography of an Ex-Coloured Man; and poems by F. W. Harper, Paul L. Dunbar and Ann Spencer. Dist: LIT; WCult: W. Course Group II. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture. Chaney, Favor.

45. Native American Literature (Identical to Native American Studies 35)

10S, 11S: 11

Published Native American writing has always incorporated a cross-cultural perspective that mediates among traditions. The novels, short stories, and essays that constitute the Native American contribution to the American literary tradition reveal the literary potential of diverse aesthetic traditions. This course will study representative authors with particular emphasis on contemporary writers. Open to all classes. Dist: LIT; WCult: NW. Course Group III. CA tags National Traditions and Countertraditions, Multicultural and Colonial/ Postcolonial Studies. Palmer, Runnels.

46. Twentieth-Century American Fiction: 1900 to World War II

Not offered in 2009-2010, may be offered in 2010-2011

A study of major American fiction in the first half of the twentieth century. Works by Dreiser, Stein, Fitzgerald, Cather, Larsen and Faulkner, and a changing list of others. Dist: LIT; WCult: W. Course Group III. CA tags Genre-narrative, National Traditions and Countertraditions. Will.

47. American Drama

10S: 10 11S: Arrange

A study of major American playwrights of the 19th and 20th centuries including S. Glaspell, O’Neill, Hellman, Wilder, Hansberry, Guare, Williams, Wilson, Mamet, Miller, Albee, Shepard, Wasserstein. Dist: LIT; WCult: W. Course Group III. CA tags National Traditions and Countertraditions, Genre-drama. Colbert, Pease.

48. Contemporary American Fiction

09F: 3B 10F: Arrange

Contemporary American fiction introduces the reader to the unexpected. Instead of conventionally structured stories, stereotypical heroes, traditional value systems, and familiar uses of language, the reader finds new and diverse narrative forms. Such writers as Toni Morrison, Thomas Pynchon, Maxine Hong Kingston, Leslie Silk, Norman Mailer, Don DeLillo, and Ralph Ellison, among others, have produced a body of important, innovative fiction expressive of a modern American literary sensibility. The course requires intensive class reading of this fiction and varied critical writing on postmodernism. Dist: LIT; WCult: W. Course Group III. CA tags Genre-narrative, National Traditions and Countertraditions. Favor, Bahng.

49. Modern Black American Literature (Identical to African and African American Studies 35)

10S: 12 11S: Arrange

A study of African American literature from the Harlem Renaissance to the present, this course will focus on emerging and diverging traditions of writing by African Americans. We shall also investigate the changing forms and contexts of ‘racial representation’ in the United States. Works may include those by Hurston, Hughes, Wright, Ellison, Morrison, Schuyler, West, Murray, Gates, and Parks. Dist: LIT; WCult: W. Course Group III. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture. Favor, Vásquez.

50. American and British Poetry Since 1914

Not offered in 2009-2010, may be offered in 2010-2011

A survey of modern American and British poetry since the First World War, with particular emphasis on the aesthetics, philosophy and politics of modernism. The course covers such canonical and non-canonical poets as Yeats, Pound, HD, Lawrence, Eliot, Stevens, Frost, Williams, Crane, Moore, Millay, Auden, the Harlem Renaissance, and the Beats. Dist: LIT; WCult: W. Course Group III. CA tags Genre-poetry, National Traditions and Countertraditions. Zeiger, Vásquez.

53. Twentieth-Century British Fiction: 1900 to World War II

Not offered in 2009-2010, may be offered in 2010-2011

A study of major authors, texts, and literary movements, with an emphasis on literary modernism and its cultural contexts. We will read works by Conrad, Forster, Joyce, Woolf, West, Lawrence, Rhys, and Beckett, as well as critical essays. We will explore this literature in the context of the art, dance, and film of the period. Dist: LIT; WCult: W. Course Group III. Concentration area tags: Genre-narrative, National Traditions and Countertraditions, Cultural Studies and Popular Culture. Silver.

54. Modern British Drama

Not offered in 2009-2010, may be offered in 2010-2011

Major British plays since the 1890s. The course begins with the comedy of manners as represented by Oscar Wilde and Noel Coward. It then considers innovations in and rebellions against standard theatrical fare: the socialist crusading of Bernard Shaw; the angry young men (John Osborne) and working-class women (Sheath Delaney) of the 1950s; the minimalists (Samuel Beckett, Harold Pinter) and the university wits (Tom Stoppard); the dark comedians of the modern family (Alan Ayckbourn) and the politically inflected playwrights of the age of Prime Minister Thatcher (Caryl Churchill, Timberlake Wertenbaker, David Hare). The course deals both with the evolution of dramatic forms and the unusually close way in which modern British theatre has served as a mirror for British life from the heyday of the Empire to the present Dist: LIT; WCult: W. Course Group III. CA tags Genre-drama, National Traditions and Countertraditions.

55. Twentieth-Century British Fiction: World War II to the Present

Not offered in 2009-2010, may be offered in 2010-2011

A study of the multiple currents within British fiction in a period characterized by major literary, cultural, and social transitions in Britain, including the emergence of a “post”(-war, -empire, -modern) sensibility. Writers may include Amis, Sillitoe, Greene, Golding, Burgess, Lessing, Wilson, Carter, Swift, Atkinson, MacLaverty, Ishiguro, Barker, Barnes, McKean, and Smith. Dist: LIT; WCult: W. Course Group III. CA tags Genre-narrative, National Traditions and Countertraditions. Giri.

58. Introduction to Postcolonial Literature (Identical to African and African American Studies 65)

09F: 11 10F: Arrange

An introduction to the themes and foundational texts of postcolonial literature in English. We will read and discuss novels by writers from former British colonies in Africa, South Asia, the Caribbean, and the postcolonial diaspora, with attention to the particularities of their diverse cultures and colonial histories. Our study of the literary texts will incorporate critical and theoretical essays, oral presentations, and brief background lectures. Authors may include Chinua Achebe, Nugget wa Thing’s, V.S. Naipaul, Merle Hodge, Anita Desai, Bessie Head, Nadine Gorier, Paule Marshall, Tsitsi Dangarembga, Selman Rushdie, Earl Lovelace, Arundhati Roy. Serves as prerequisite for FSP in Trinidad. Dist: LIT or INT; WCult: NW. Course Group III. CA tags Genre-narrative, Multicultural and Colonial/Postcolonial Studies. Giri.

59. Critical Issues in Postcolonial Studies

10S: 2A 11S: Arrange

Intended for students who have some familiarity with postcolonial literary texts, this course will combine the reading of postcolonial literature with the study and discussion of the major questions confronting the developing field of postcolonial studies. Issues may include: questions of language and definition; the culture and politics of nationalism and transnational’s, race and representation, ethnicity and identity; the local and the global; tradition and modernity; hybridity and authenticity; colonial history, decolonization and neocolonialism; the role and status of postcolonial studies in the academy. Authors may include: Achebe, Appiah, Bhabha, Chatterjee, Coetzee, Fanon, Gilroy, Gorier, James, JanMohamed, Minh-ha, Mohan, Ngugi, Radhakrishnan, Rushdie, Said, Spivak, Sunder Rajan. Prerequisite: English 58, Trinidad FSP, or permission of the instructor. Dist: LIT or INT; WCult: NW. Course Group IV. CA tags Multicultural and Colonial/Postcolonial Studies, National Traditions and Countertraditions, Literary Theory and Criticism. Giri.

SECTION III: SPECIAL TOPICS COURSES

60-67 Special Topics in English and American Literature

These courses are offered periodically with varying content: one or more individual writers, a genre, a period, or an approach to literature not otherwise provided in the English curriculum. Requirements will include papers and, at the discretion of the instructor, examinations. Enrollment is limited to 30. Courses numbered 65-67 require prior work in the period (normally a course in the corresponding course group) or permission of the instructor. Dist: LIT; WCult: Varies.

60. Open Topic

09F: 10A 10W: 2 10S: 10A

In 09F at 10A (section 6), Advanced Literary Nonfiction. This course continues the study of nonfiction writing.  Students pursue independent projects in order to hone their research and story-telling skills.  The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of the classic works of literary nonfiction.  Prerequisites: English 80, English 83 and permission of the instructor. Dist: ART. No Course Group designation. CA tag, Creative Writing. Kennedy.

In 10W at 10 (section 2), Native American Oral Traditional Literature (Identical to, and described under, Native American Studies 34). Native American oral literatures constitute a little-known but rich and complex dimension of the American literary heritage. This course will examine the range of oral genres in several tribes. Since scholars from around the world are studying oral literatures as sources of information about the nature of human creativity, the course will involve examining major theoretical approaches to oral texts. Dist: LIT; WCult: NW. Course Group III. CA tags National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies. Palmer.

In 10W at 2 (section 7), The Poetics of Literary Practice. Designed for students interested in the intersections of literary study, theory, and the practice of creative writing, this course explores how modern and contemporary poets have thought about their own art. How do underlying theories about language, art, culture, and history inform a poet’s literary practice? Students will develop their own creative and critical writing practices, participate in workshop critique, compose responses to the selected readings, and complete an essay that explores their own poetics. Dist: ART, pending faculty approval. No Course Group designation. CA tags Creative Writing, Literary Theory and Criticism. Finch.

In 10S at 10A (section 5), Writers at Work. This course will explore how cultural stories shape the identities of writers and inform their work. We will read writers on their writing process, looking at how their contexts inform and shape their stories. We will read and discuss such writers as: Toni Morrison, J.D. Salinger, T. Olsen, W. Faulkner, and T.T. Williams. The overarching goal of the course will be to help students to develop a concrete writing process, gaining voice and self-consciousness within their own cultural stories. Students will be encouraged to write not only about other writers’ writing process but about their own. Dist: ART. No Course Group designation. CA tag Creative Writing. Crumbine.

62. Gender/Literature/Culture

09F: 10A, 11 10W: 11

In 09F at 10A (section 2), War and Gender (Identical to Women’s and Gender Studies 42). Throughout history, war has been constructed into a powerfully gendered binary. From The Iliad onward, battle is posed as a sacred domain for initiating young men into the masculine gender and the male bond, and the feminine as that which both instigates male-male conflict and that which wars are fought to protect. With a special concentration on U.S. culture of the past century, this course will examine the way our modern myths and narratives instantiate this cultural polarity through film, fiction, non-fiction and various media material. Dist: SOC; WCult: W. Course Group III. CA tags Genders and Sexualities, Cultural Studies and Popular Culture. Boose.

In 09F at 11 (section 3), Immigrant Women Writing in America (Identical to Women’s and Gender Studies 47.1). In responding to the obstacles facing America’s immigrants, women often bring powerful bicultural perspectives not only to their tasks of survival and adaptation but also to new forms of cultural expression. We will study explorations of genre—memoir, fiction, film, and poetry—by foreign-born women writers such as Julia Alvarez, Mei-Mei Bersenbrugge, Woon-Ping Chin, Sandra Cisneros, Edwidge Danticat, Jamaica Kincaid, Maxine Hong Kingston, JhumpaLahiri, Alice McDermott, Mei Ng, Naomi Shihab Nye, and Grace Paley. Dist: LIT; WCult: W. Course Group III, CA tags National Traditions and Countertraditions, Genders and Sexualities. Zeiger.

In 10W at 11, (section 4), Queer Poetries (Identical to Women’s and Gender Studies 20). This course will explore the poetics and politics of queerness in the work of modern and contemporary American poets; we will consider not only explicit dissidence, but also the politics of forms and modes ordinarily seen as “only” aesthetic. Among the readings will be work by HD, Ginsberg, O’Hara, Ashbery, Bishop, Rich, Swenson, Rukeyser, Gunn, Lorde, Broumas, Doty, Hacker, Harjo, Hemphill, Koestenbaum, Moto, and Chin, as well as a selection of brief theoretical texts in queer theory. Open to all students. Dist: LIT; WCult: CI. Course Group III. Concentration area tags Genre-poetry, Genders and Sexualities. Zeiger.

63. Topics in Theory and Criticism

10S: 2A

In 10S at 2A (section 1), Colonial and Postcolonial Masculinities (Identical to African and African American Studies 67, Women’s and Gender Studies 52.1, and Comparative Literature 67, and Classical Studies 51. Described under COLT 67). Dist: LIT. CA tags Genders and Sexualities, National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies. Coly.

65. Literature Before the Mid-Seventeenth Century

09F: 2A 10W: 10, 10A 10S: 2A

In 09F at 2A (section 1), Shakespeare as an Acting Script (Identical to Theater 10). Patrick Stewart once said that even a small part in Shakespeare is hugely rewarding for an actor because, in Shakespeare, even the lowliest messenger has been given a ‘personality’ that lies right there in the language, waiting for the actor to give it life. This course will examine each of two plays as an actor’s script. The class should be attractive both to students who just enjoy drama and to those specifically interested in performing, directing, or writing plays. Dist: LIT; WCult: W. Course Group I, CA tag Genre-drama. Boose.

In 10W at 10 (section 2), Plays, Playing, Playhouses. Works to be read will be plays by Shakespeare and some of his contemporaries, possibly including Kyd, Marlowe, Anonymous, Marston, Jonson, Cary, Middleton, Webster, and Ford. For once, Shakespeare will not be singled out and treated separately, but read alongside some of his Elizabethan and Jacobean contemporaries. The course will investigate the conditions of performance in the public outdoor and indoor theaters, as well as in informal venues, for which these works were written. More broadly, the course will consider what has been called the theatrical culture of early modern England. Some attention will be given to the acting companies, to the printing and subsequent editing of play scripts, and to the dramatic models and conventions exploited by early modern playwrights. Dist: LIT; WCult: W. Course group I, CA tags Genre-drama, National Traditions and Countertraditions, Cultural Studies and Popular Culture. Crewe.

In 10W at 10A (section 4), Spenser and the Faerie Queen. Experience with sixteenth century literature is not required. Patience and a willingness to read slowly and then read slowly again is required. Students will write three short papers (3-5 pages) and one long essay (open topic), and do one or two short oral presentations. There will not be an exam. Supplementary material will include critical essays and Ovid’s Metamorphoses. Dist: LIT; WCult: W. Course Group I. CA tags Genre-Poetry, National Traditions and Countertraditions, Genders and Sexualities. Halasz.

In 10S at 2A (section 3), 1610. We’ll read what someone attentive to the literary and socio-political networks of England in 1610 might have read or seen performed, including plays and poems by Shakespeare, Jonson, Donne, and Middleton, prose pamphlets, civic and courtly entertainments, contemporary letters and manuscript treatises. We’ll focus primarily on work published or circulated between 1609 and 1611. Discussion, short papers and oral presentations, term paper. Dist: LIT; WCult: W. Course Group I. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture. Halasz.

66. Literature from the Mid-Seventeenth Century to the End of the Nineteenth Century

Not offered in 2009-2010, may be offered in 2010-2011

67. Literature from the Start of the Twentieth Century to the Present

09F: 2, 2A 10W: 10A, 12 10S: 10A, 2A

In 09F at 2A (section 1), Literature of Empire. What does the English literature of the last one hundred and fifty years tell us about the ideology, institutions, and practices of the British Empire? What sorts of literary genres and styles did the imperial mission propagate? How do literary works of this period relate to the dominant institutions of commerce and politics? This course explores such questions by engaging students in a careful study of a half dozen literary works. Dist: LIT; WCult: W. Course Group III. CA tags National Traditions and Countertraditions, Colonial and Postcolonial Studies. Giri.

In 09F at 2A (section 10), Caribbean Women Writers: Prose Fiction (Identical to Women’s and Gender Studies 52.2 and African and African American Studies 84). In this course we will read, discuss and write about a selection of female-authored novels from the Anglophone Caribbean, relating the texts to the historical, social, and cultural realities of the region, including each writer’s treatment of issues such as gender, class, ethnicity, family and identity.  Readings include Zee Edgell’s Beka Lamb; Ramabai Espinet’s The Swinging Bridge; Andrea Levy’s Small Island; Shani Moto’s Cereus Blooms at Night; and Jean Rhys’s Wide Sargasso Sea. Dist: LIT. Course Group III. CA tags Genders and Sexualities, Genre-narrative, National Traditions and Countertraditions. Hodge.

In 09F at 2A (section 2), Transforming Narrative (Identical to Women’s and Gender Studies 59.2). We define and transform ourselves through stories. In this community-based learning course, students will alternate studying narratives of prison, addiction, and recovery in the traditional classroom with travel to Valley Vista, a substance abuse rehabilitation center in Bradford, Vermont, where they will participate in a program for women patients whose goal is the creation and performance of an original production that will facilitate the patients’ voices. Written work for the course will combine critical analysis and self-reflection. Dist: LIT. Course Group III, CA tags Genre-narrative, Cultural Studies and Popular Culture, Genders and Sexualities. Schweitzer, Hernandez.

In 09F at 2 (section 9), Indian Killers: Murder and Mystery in Native Literature and Film (Identical to and described under Native American Studies 32). Dist: LIT; WCult: CI. Course Group III, CA tags National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies, Cultural Studies and Popular Culture. Benson.

In 10W at 12 (section 3), African American Fiction Since 1990 (Identical to African and African American Studies 36). This course will explore African American prose fiction published since 1990 in an effort to probe the complicated question “What is Black fiction?” We shall also read extensively in African American literary criticism and theory with an eye toward learning how they have shaped the canon of African American literature. We will study novels by Morrison, Charles Johnson, Whitehead, Sienna, Octavia Butler and Beatty and examine how they challenge the paradigms of Black literature. Dist: LIT. Course Group III. CA tags National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies, Literary Theory and Criticism. Favor.

In 10W at 10A (section 8), Contemporary Asian American Literature and Culture. This course examines narratives of migration to, from, and between the Americas by groups from East, South, and Southeast Asia. We will analyze novels, short fiction, poetry, and films by twentieth-century artists (i.e. Joy Kogawa, Theresa Cha, Shani Moto, Jhumpa Lahiri, Bienvenido Santos, Wayne Wang) against the historical backdrop of imperialism in Asia and the Americas; periods of exclusion and internment; and social movements that coalesce around intersections of race, class, gender, sexuality, and citizenship. Dist: LIT. CA tags National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies, Cultural Studies and Popular Culture. Bahng.

In 10S at 10A (section 11), African Literatures: Masterpieces of Literature From Africa (Identical to African and African American Studies 51 and Comparative Literature 51. Described under Comparative Literature 51). Dist: LIT. CA tags Genders and Sexualities, National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies. Coly.

In 10S at 2A (section 5), The Graphic Novel. A study of the narrative mechanics and cultural work of graphic novels by Eisner, Spiegelman, Moore, Ware, Drechsler, Satrapy, and others. Focus will be placed on their theoretical and formal preoccupations with autobiography, counterculture, parody, science-fiction, and fantasy. In addition to giving a presentation, students will be required to write two formal essays and several short responses. Dist: LIT; WCult: W. Course Group III, CA tags Cultural Studies and Popular Culture, Genre-narrative, Creative Writing. Chaney.

In 10S at 2A (section 6), Jewish American Literature: From its Inception to the Present (Identical to and described under Jewish Studies 21). Dist: LIT; WCult: W. Course Group III. CA tags National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies. Milich.

In 10S at 10A (section 7), Bob Dylan. In this course, we will do close, critical readings of certain Dylan lyrics spanning his entire career, also taking into consideration their social, historical, and biographical circumstances. Oral reports as well as a long final paper will be required. Note: some attention will be given to the performance aspect of Dylan’s songs, but we will not listen to them in class. All of the songs assigned and discussed will be available for your listening in the Paddock Music Library beforehand. Dist: LIT; WCult: W. CA tags Genre-poetry, Cultural Studies and Popular Culture. Renza.

SECTION IV: ADVANCED SEMINARS

Seminars are designed as small courses, limited to twelve students, primarily seniors; qualified juniors may enroll. These courses emphasize discussion, and allow the student to develop his or her thinking about a subject throughout the term. Though assignments vary according to the nature of the material being studied, seminars usually involve class presentations and a term paper. They fulfill the “Culminating Experience” requirement. Prerequisite: at least four completed major courses, of which one must be in the same course group as the seminar. Students who successfully complete a seminar may sometimes be allowed to follow it with a one-term Honors project (see the section on Honors, above). Dist: LIT; WCult: Varies.

70. Literature Before the Mid-Seventeenth Century

09F: 10A 10S: 2A, 3B

In 09F at 10A (section 1), John Milton. Members of this seminar should be prepared to settle on a project of research designed to produce new and interesting readings of Milton’s poetry and/or prose within the first week of class meetings. The group readings, both in Milton and in the secondary literature, will then be determined by what topics the members have selected. Though no prerequisite has been specified, those who have completed English 26, 27, 28, or a Special Topics course will be best prepared for this seminar. Dist: LIT; WCult: W. Course Group I. CA tags Genre-poetry, Genders and Sexualities. Luxon.

In 10S at 2A (section 3), Gender and Power in Shakespeare: From Page to Stage. The course will consider the varieties of power inscribed in Shakespeare’s plays, and, within some 8-9 plays, it will explore such issues as: is language gender-inflected, and do men and women speak “different” languages? How do power and gender interplay with and affect one another? How do women negotiate power among themselves? How do men? How is power exerted and controlled in sexual relationships? How do unspoken social assumptions exert their power over the politics of gender? Dist: LIT; WCult: W. Course Group I. CA tags Genre-drama, Genders and Sexualities. Boose.

In 10S at 3B (section 2), Early English Theater. The so-called mystery plays of the fourteenth and fifteenth centuries embody a complex response to an extended period of political turmoil and institutional reorientation. Approaching these plays as sites of social contestation, rather than as instruments of social control, this class will explore some of the ways in which early English theater staged the struggle over jurisdiction being fought out, in other venues, by secular and religious authorities. Extending the jurisdiction of early English theater itself, the class will also trace the afterlife of the Corpus Christi plays in such early modern works as Thomas Kyd’s The Spanish Tragedy and Shakespeare’s 1 Henry IV. Dist: LIT; WCult: W. Course Group I. CA tags Genre-drama, National Traditions and Countertraditions. Edmondson.

71. Literature from the Mid-Seventeenth Century to the End of the Nineteenth Century

10W, 10S: 10A

In 10W at 10A (section 1), Charles Dickens. A close reading of six or seven of Dickens’ major novels from historical, formalist, psychoanalytic, and other critical perspectives. The reading will be chosen from among the following texts: Oliver Twist, The Old Curiosity Shop, David Copperfield, Nicholas Nickleby, Barnaby Rudge, Martin Chuzzlewit, A Tale of Two Cities, Dombey and Son, Bleak House, Hard Times, Little Dorrit, Great Expectations, Our Mutual Friend. Prerequisite: One course either in Victorian Literature (English 36, 37) or in prose fiction (English 32, 38, 42, 53, 54, or 55) or permission of the instructor. Dist: LIT; WCult: W. Course Group II, CA tags Genre-narrative, National Traditions and Countertraditions. McKee.

In 10S at 10A (section 2), Frederick Douglass: Texts and Contexts (Identical to and described under African and African American Studies 90). Dist: LIT. Course Group II. CA tags National Traditions and Countertraditions, Genre-narrative, Multicultural and Colonial/Postcolonial Studies. Chaney.

72. Literature from the Start of the Twentieth Century to the Present

10W: 10A, 2A

In 10W at 2A (section 1), Jews in American Culture and Theory: The New York Intellectuals (Identical to and described under Jewish Studies 30). Dist: LIT: WCult: W. Course Group III. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture. Milich.

In 10W at 10A (section 2), Virginia Woolf (Identical to Women’s and Gender Studies 53). In this course we will read a number of works by Virginia Woolf, including experimental short stories, essays about language and literature, polemical writings, and novels. We will also read essays written in the early 20th century that are associated with the Modernist movement, as well as critical and theoretical essays about Woolf’s work. Prerequisites include at least one course on 20th century fiction and, preferably, a course on literary theory. Dist: LIT; WCult: W. Course Group III. CA tag Genre-narrative. Silver.

74. Open Topic

Not offered in 2009-2010, may be offered in 2010-2011

75. Seminar in Criticism and Theory

10W: 11

In 10W at 11 (section 1), Alternative Modernities. This course explores the idea of modernity in both post-Enlightenment European and non-European contexts. A major part of the course will be devoted to examining alternative formations of—and viewpoints on—modernity and literary texts that engage these viewpoints. Theoretical texts to be discussed include selections from Marshall Berman’s All That’s Solid Melts into Thin Air: The Experience of Modernity, Jurgen Habermas’ The Philosophical Discourse of Modernity, and Dilip Gondar’s Alternative Modernities. Among prose narratives Conrad’s Heart of Darkness, Taebb Selah’s Season of Migration to the North, Pico Ayer’s Video Nights in Kathmandu, and Amitav Ghosh’s The Circle of Reason will be discussed. Dist: LIT; WCult: NW, pending faculty approval. CA tags Multicultural and Colonial/ Postcolonial Studies, National Traditions and Countertraditions, Literary Theory and Criticism. Giri.

SECTION V: CREATIVE WRITING

Introductory Creative Writing Course

80. Creative Writing

All terms: Arrange

This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week plus individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have completed Writing 5 (or have exemption status).

Procedures for enrolling in English 80: To gain admission to English 80, students must fill out an application, available on-line or in the English Department office, and submit it to the English office no later than the last day of classes of the term preceding the one in which they wish to enroll.  Deadline for equal consideration for admittance is the last day of classes in the term preceding the course.  Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur.  Please answer all questions on the application and make sure your name is legible. Be sure to indicate clearly on your application the sections(s) of 80 for which you are applying. If you do not indicate which sections work with your schedule, we will place you in whatever section is available. Students should then enroll in three other courses.  If admitted to English 80, students can then drop one of the other courses.  Changing sections after enrollment is highly discouraged and will not be possible except in extenuating circumstances. English 80 is the prerequisite to all other Creative Writing courses. It carries major or minor credit. Dist: ART. Hebert, Huntington, Mathis, Tudish, Lenhart, O’Malley, Finch.

Intermediate Creative Writing Courses

Students who wish to enroll in an intermediate Creative Writing Course must read the appropriate “How to Apply to English 81, 82 or 83” document, available on-line and in the English Department, and answer all the questions asked in a cover letter. They should also submit a five-eight page writing sample, as stated in each of the course descriptions below. Deadline for equal consideration for admittance is the last day of classes in the term preceding the course. Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur. Students should then register for three other courses, not including the Creative Writing course. Students accepted into Creative Writing 81, 82 and 83 will be notified before the first day of class. To secure their spot in the class, students must be present at the first meeting. At that time, students will be given a permission card and can then drop one of their other courses and enroll in the Creative Writing course. The intermediate courses in Creative Writing may each be taken a second time for credit.

81. Creative Writing: Poetry

10W, 11W: Arrange

Continued work in the writing of poetry, focusing on the development of craft, image, and voice, as well as the process of revision. The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of poems by contemporary writers.

Prerequisite: English 80 and permission of the instructor. Please read the “How To Apply To English 81, 82 or 83” document, available on-line and from the English Department, and answer all of the questions asked in a cover letter. Students should submit a five-eight page writing sample of their poetry to the administrative assistant of the English Department. Deadline for equal consideration for admittance is the last day of classes in the term preceding the course. Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur. Dist: ART. Huntington, Mathis.

82. Creative Writing: Fiction

09F, 10S, 10F, 11W, 11S: Arrange

Continued work in the writing of fiction, focusing on short stories, although students may experiment with the novel. The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of short stories by contemporary writers. Constant revision is required.

Prerequisite: English 80 and permission of the instructor. Please read the “How To Apply To English 81, 82 or 83” document, available on-line and from the English Department, and answer all of the questions asked in a cover letter. Students should submit a five-eight page writing sample of their fiction to the administrative assistant of the English Department. Deadline for equal consideration for admittance is the last day of classes in the term preceding the course. Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur. Dist: ART. Hebert, O’Malley, Tudish.

83. Creative Writing: Literary Non-Fiction

09F, 10F: Arrange

This course offers students an overview of the conventions, genres and techniques of narrative-nonfiction writing.  The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of classic works of literary nonfiction.   Prerequisite: English 80 and permission of the instructor.  Please read the “How To Apply To English 81, 82 or 83” document, available on-line and from the English Department, and answer all of the questions asked in a cover letter. Students should submit a five-to-eight-page writing sample to the administrative assistant of the English Department by the last day of the term preceding the term in which they wish to enroll. Dist: ART. CA tag Creative Writing. No Course Group designation. Tudish, Kennedy.

Advanced Creative Writing Courses

85. Senior Workshop in Poetry, Prose Fiction and Nonfiction

09F, 10F: Arrange

This course is offered in the fall of senior year for English majors and minors concentrating in Creative Writing. Each student will undertake a manuscript of poems, fiction, or literary nonfiction. All students who wish to enroll must submit an 8 to 12 page writing sample to the administrative assistant of the English Department by May 15 of the spring term preceding their senior year. Please also read the “How to Apply to English 85” document, available on-line and from the English Department, and answer all of the questions asked in a cover letter. Prerequisite: English 80 and 81, 82, or 83.

97. Creative Writing Project

All terms: Arrange

A tutorial course to be designed by the student with the assistance of a member of the Creative Writing Faculty willing to supervise it. This course is intended for the purpose of producing a significant manuscript of fiction, nonfiction or poetry. It carries major credit only for English majors concentrating in Creative Writing. English majors concentrating in Creative Writing must request permission to take English 97 (one or two terms) during fall of senior year. Decisions regarding admission to English 97 will not be made before fall term of senior year. Prerequisite: Permission of the Director of Creative Writing.

98. Honors Course in Creative Writing

All terms: Arrange

To be arranged in fall term of senior year. Independent study under the direction of a faculty adviser. Honors majors will elect this course in each term in which they are pursuing Honors projects. For more information, see “English Honors Program,” above, and consult the “Guide to Honors” booklet available in the English Department.

Other Creative Writing Courses

The courses listed below, described elsewhere, carry the Concentration Area tag “Creative Writing” and may be used to fulfill the Creative Writing concentration area requirements as well as English major course requirements.

In 09F at 10A, English 60.6, Advanced Literary Nonfiction.

In 10W at 2, English 60.7, The Poetics of Literary Practice

In 10S at 10A, English 60.5, Writers at Work

In 10S at 2A, English 67.5, The Graphic Novel

SECTION VI: FOREIGN STUDY COURSES

90. English Study Abroad I

09F: D.F.S.P. (Glasgow, Dublin) 10F: D.F.S.P. (Glasgow, Trinidad)

Major credit for this course is awarded to students who satisfactorily complete a course of study elected as part of one of the Department’s three Foreign Study Programs (FSPs). On the Glasgow FSP, this will be a course of study in literature at the University of Glasgow. On the Trinidad FSP, this will be a course of study in literature at the University of the West Indies. On the Dublin FSP, this will be a course of study in the English Department at Trinity College Dublin (TCD). Of the three courses at TCD at least one must be in Irish literature. Students are also required to do an independent study project on some aspect of Irish literature or culture, culminating in a long essay; the grade for the independent study is factored into the grade for the Irish literature course.

Glasgow and Dublin Dist: LIT; WCult: W. Trinidad Dist: LIT; WCult: NW.

91. English Study Abroad II

09F: D.F.S.P. (Glasgow, Dublin) 10F: D.F.S.P. (Glasgow, Trinidad)

Major credit for this course is awarded to students who satisfactorily complete a course of study elected as part of one of the Department’s three Foreign Study Programs (FSPs). On the Glasgow FSP, this will be a course of study in literature at the University of Glasgow. On the Trinidad FSP, this will be a course of study in literature at the University of the West Indies. On the Dublin FSP, this will be a course of study in the English Department at Trinity College Dublin (TCD). Of the three courses at TCD at least one must be in Irish literature. Students are also required to do an independent study project on some aspect of Irish literature or culture, culminating in a long essay; the grade for the independent study is factored into the grade for the Irish literature course.

Glasgow and Dublin Dist: LIT; WCult: W. Trinidad Dist: LIT; WCult: NW.

92. English Study Abroad III

09F: D.F.S.P. (Glasgow, Dublin) 10F: D.F.S.P. (Glasgow, Trinidad)

One college credit (not major or minor credit) for this course is awarded to students who satisfactorily complete a course of study elected as part of one of the Department’s three Foreign Study Programs (FSPs). The purpose of English 92, when taken in Glasgow, is to enhance the experience of studying English and Scottish literature in a global, and more specifically British, context. The requirement may be fulfilled in one of three ways: by taking a course devoted to the study of European literature or the history of the English language; by taking a course in a field clearly relevant to the study of literature in English (e.g., history, art history, philosophy, media studies); by taking a course that immerses the student in some aspect of Scottish, British, or Celtic language, literature, culture or history. This course must be approved by the program director. On the Trinidad FSP, this will be a course of study in West Indian history and culture. On the Dublin FSP, this will be a course of study in the English Department at Trinity College Dublin (TCD). Of the three courses at TCD at least one must be in Irish literature. Students are also required to do an independent study project on some aspect of Irish literature or culture, culminating in a long essay; the grade for the independent study is factored into the grade for the Irish literature course.

Glasgow Dist: Varies; Trinidad Dist: INT or SOC; Dublin Dist: LIT.

SECTION VII: INDEPENDENT STUDY AND HONORS

96. Reading Course

All terms: Arrange

A tutorial course to be designed by the student with the assistance of a member of the English Department willing to supervise it. This course is available, as an occasional privilege, to upperclassmen who have demonstrated their ability to do independent work. During the term prior to taking the course, applicants must consult the Department Vice Chair to make arrangements for approval of the project.

(Note: English 96 does not normally count towards the English major or minor, though in special circumstances the C.D.C. may approve occasional exceptions to that rule. Students seeking such an exception are asked to petition the C.D.C. before taking English 96. English 96 may not be used to satisfy course group requirements.)

98. Honors Course in Critical Studies

All terms: Arrange

Independent study under the direction of a faculty adviser. Honors majors will elect this course in each term in which they are pursuing Honors projects. For more information, see “English Honors Program,” above, and consult the “Guide to Honors” booklet available in the English Department.