course descriptions
Fall 2008
English 19: Introduction to Literary Analysis
Although primarily designed as an introductory course for English majors, this
course is open to all lovers of literature. It will give more experienced
readers a chance to perfect their analytical skills and less experienced readers
a chance to acquire new skills. We will concentrate on learning how to pay the
kind of attention that literature demands and how to ask and answer fruitful
questions. We will begin to master the language of literary criticism, the
technical vocabulary that makes it possible for a reader to ask and to answer
interpretive questions with clarity and precision.
- Text
Michael Meyer, The Compact Bedford Introduction to Literature - Requirements
Active participation in class discussions, group presentation, three short
essays and three quizzes. - Instructors
Janice Doane
19-1: MWF 10:20-11:20
Jeannine King
19-2: T/Th 1:10-2:40
English 25: Creative Writing: Multi-Genre
A Sampler. Students will explore the forms of the personal essay, short stories, plays and poems with an eye toward creating a small portfolio which encompasses all four genres. Class will include exercises to get us going, the close reading of literature and a traditional workshop in which student work is critiqued. The purpose of the course is to help students identify which genre or genres they have an affinity for as writers and, more broadly, to have students explore their imaginative intelligence, perhaps to find a voice with which to articulate their lives and their feelings about those lives.
- Requirements
Students should expect to write one personal essay, one short story, one short play and several short poems. The final portfolio should include a significant revision of one of these. We will read a variety of authors from an anthology to be announced. - Instructor
Wesley Gibson
T/Th 2:50-4:20
English 26 (.25) Creative Writing Reading Series
The Creative Writing Reading Series allows Saint Mary's students access to the nation's most prominent and exciting contemporary writers. In the spring of 2008, the Series will feature readings by Sue Miller, Jane Miller, Adam Haslett, Nick Flynn, Monica Youn, Michael Gardner, and Marilyn Abildskov.
Students are encouraged to read work by the visiting writers and will have opportunities to meet them.
- Texts
Reader provided, featuring work by the writers listed above. - Requirements
Regular attendance at Reading Series events. - Instructor
Graham Foust
Five Wednesdays in the fall semester, 7:30-9:00 pm
English 29: Issues in Literary Study
This course is an introduction to fundamental issues in the formal study of works of literature, issues that sometimes lie in the background, unacknowledged and undiscussed.
Why do we read and discuss these texts and not others? The readings in literature courses often seem strange and remote; they are the kind of thing you read when it is assigned, and not the kind of thing you read for enjoyment. Is “popular” literature just the literature that doesn’t get taught? Why don’t we read, say, the novels of Stephen King and the poetry of Pink Floyd? Are some texts just more “discussible” than others?
Is the kind of reading we do for the classroom “real-world” reading? Would we do it if we didn’t have to? What distinguishes this kind of “classroom” reading from the reading we would do for fun or enjoyment? When we discuss a text in class or write a paper on it, what exactly are trying to accomplish? What is our goal? Or are there various possible goals from which we can or should be able to choose? How “free” is the reader of literature? Is my interpretation just as good as anyone else’s? How much does your reading of a text depend upon who you are and what you bring to the text and how much does it depend upon the text and even the intention of the author of the text? Are we capable of reading older texts “in their own terms,” without remaking them in our own image and finding in them our own “issues”? Would this even be desirable?
We will be reading a wide range of English and American literature, from all periods, and a very few essays of criticism and interpretation.
- Requirements
Careful reading and re-reading, scrupulous attendance, active participation in class discussion, short essays, a take-home final. - Instructor
Robert Gorsch MWF 2:15-3:15
English 101: Writing Tutor Workshop
This workshop course is for students who wish to become writing tutors and/or students who are looking to become stronger writers through the process of learning tutoring techniques. You will develop methods for helping other students in various stages of the writing process - from brainstorming for ideas to drafting outlines and polishing completed essays. Through our tutor training, you will learn to instruct and encourage your peers and as a result, you will also improve upon your skills in working with others.
Once you have completed the course, you are then able to serve as a paid Writing Tutor for The Writing Center Workshop. You may also work as an assigned tutor for an English Composition class, where you will get hands-on experience in the classroom and the opportunity to work with the same group of students throughout the semester.
This is a .25 credit course and meets for one hour each week.
- Instructor
Hilda Ma Tu 2:50-3:50
English 102: Screenwriting
“No great film was ever made from a bad script.”
So says screenwriting guru, Irwin Blacker.
This course is for prospective screen writers and fans of great writing and film-making. The course will offer both a study of the screenwriter’s art and serve as a creative writing workshop in which we will try our own hand at writing for the screen. We will examine models of and practice the art of writing character, plot, and dialogue, and we will deal with the mechanics of conflict, exposition, scene structure, and most importantly “speaking in images” rather than words.
- Reading List
The Elements of Screenwriting, Irwin R. Blacker
To Kill a Mockingbird (novel), Harper Lee
The Shawshank Redemption (shooting script), Frank Darabont
Plus assigned readings and viewings from among the following:
Understanding Movies, Louis Gianetti
Four Screen Plays: Studies in the American Screenplay, Syd Field
Eternal Sunshine of the Spotless Mind (screenplay by Charlie Kaufman)
Fargo (screenplay by Ethan Coen and Joel Coen)
When Harry Met Sally (screenplay by Nora Ephron)
American Splendor (screenplay by Robert Pulcini)
Crash (screenplay by Paul Haggis & Bobby Moresco)
To Kill a Mockingbird (screenplay by Horton Foote) - Requirements
Daily class preparation and participation in discussion (including daily readings and required out of class film-viewing assignments), individual weekly written exercises and small group exercises; short screen treatments and screenplays; final short screenplay or research project. - Prerequisites
Strong writing skills, analytic abilities, and a willingness to revise, revise, revise. Creative Writing Minors are encouraged to take English 25 prior to this or other English 102 series courses. - Instructor
David DeRose
MWF 3:20
English 104: “The Center Cannot Hold”: British Literature, Neoclassic to Modern
Dizzying changes in England during the eighteenth, nineteenth, and early twentieth centuries infuse the literature of the time with excitement, hope, and pain. As established ideas were challenged, questions about gender roles, love, marriage, wealth, work, social status, oppression, nature, art, truth, and where to seek meaning in life became subjects of debate in poetry, fiction, drama, and essays.
As we read texts by writers such as Alexander Pope, Jane Austen, William Blake, William Wordsworth, Mary and Percy Bysshe Shelley, John Keats, Alfred Tennyson, Charles Dickens, Elizabeth and Robert Browning, George Bernard Shaw, William Butler Yeats, and Thomas Hardy, we will learn about their world and about the forces that have shaped our own recent past. We will experience the power of writers to create thoughtful, beautiful, and moving literature from exciting or sad or perplexing experience. We will discover what happens to literature in times of rapid change, as writers create new forms to construct new visions of what it means to be human.
- Readings
Norton Anthology of English Literature, Vol. 2
Jane Austen, Emma
Thomas Hardy, The Mayor of Casterbridge - Requirements
Good attendance, attentive reading, active class participation, three short essays, project, final exam. - Instructor
Carol Beran
Tuesday and Thursday 1:10-2:40
English 124: SMPP Assessment and Portfolio
English 124 is a .25 credit course that students in the English Subject-Matter Preparation Program, designed for prospective secondary school teachers, are required to register for during both semesters of their senior year. The course assists students in assembling the final version of their portfolio and preparing them for the final assessment interview required by the SMP program.
Instructor
Janice Doane Schedule to be arranged with students
English 138: Short Fiction: Telling Li(v)es
Because short fiction is short, it delivers maximum pleasure in minimum time. Because short fiction is fiction, it takes us into the exciting world of the human imagination.
How short is short fiction? How fictional is it? This course will explore various forms short fiction has taken including anecdotes, parables, folktales, flash fiction, frame stories, linked stories, “standard” short fiction, and the novella. Thinking about fiction will take us into questions of autobiographical fiction, romance and realism, dirty realism, magic realism, and regionalism. We will pay particular attention to narrative techniques that create the intensity and compression typical of short fiction.
We will read a few stories from the nineteenth century, but the main focus will be on more recent short fiction as we seek an understanding of the genre as it is practiced by both male and female writers and writers of diverse ethnic backgrounds.
For those interested in creative writing, assignments will offer options to write short fiction as well as analyze it.
- Readings
Sherwood Anderson, Winesburg, Ohio
Charles Baxter, A Relative Stranger
Emily Carr, Klee Wyck
Kate Chopin, The Awakening and Selected Stories
Thomas Hardy, The Distracted Preacher and other Stories
Alice Munro, The Beggar Maid
Flash Fiction: 72 Very Short Stories, ed. Thomas et al
3 x 33, ed. Winegardner - Requirements
Active participation, project, several short essays or short stories, final exam - Instructor
Carol Beran
TTH 9:40-11:10
English 140: Science Fiction
- “The Shape of Things to Come”
-- title of the work by H. G. Wells from which the 1936 movie Things to Come was made - “The Way the Future Was”
-- title of the autobiography of Frederik Pohl, a science fiction writer who grew up during the 1930s
It wasn’t until the end of the nineteenth-century that “futuristic fiction” began to emerge as a literary genre. Darwin’s theoretical model of the processes of evolutionary change had something to do with this; so, too, did the accelerating pace of advances in scientific knowledge and technological achievement.
It became clear at the beginning of our century that the future was going to be different, to a degree unprecedented in human history, from the present and from the past and that no one had any reliable way to predict the distant future. “The future” emerged as an intellectual and imaginative playground, the object at once of sober prophecies and speculations and colorful and outlandish imaginings that verged on fantasy.
This course will study the development of “science fiction” – in pulp magazines, comics, radio, hardcover and paperback books, movies, and television—during the twentieth century. Science fiction, as the exploration of possible futures, has outgrown its origin in magazines addressed to “nerds” and proto-scientists to become one of the dominant influences in contemporary American culture.
- Readings will include the writings of H. G. Wells, Robert Heinlein, Issac Asimov, Arthur C. Clarke, Frederic Pohl, Philip K. Dick, Ursula Le Guin, Joanna Russ, and a host of others. We will pay attention to the emergence of science fiction in comics, radio, movies and television, taking seriously, for example, classic science fiction films like Things to Come, The Day the Earth Stood Still, 2001: A Space Odyssey, Star Wars, and Bladerunner, and Star Trek in both its TV and cinematic incarnations.
- Requirements
Faithful attendance, careful reading and watching, active participation in class discussion, two or three papers, and a take-home final exam. - Instructor
Robert Gorsch M/F 12:40-2:10
English 142: Renaissance Drama
This course will focus on the major works produced for the Elizabethan and Jacobean stage. In addition to Shakespeare, this age of theater shaped a host of influential playwrights – Kyd, Marlowe, Middleton, Dekker, Jonson, and Webster, to name a few – and with them, a collection of masterful plays. We will look at some of the chief thematic concerns not only of the Renaissance stage, but also of the society within which these plays were produced. This was a time when theater catered to both the elite and popular masses; it reaffirmed religious and political pieties, yet it threatened social conventions and expressed the current cultural anxieties. Some of the topics which we will explore include contributions to the court-centered Cult of Elizabeth, cross-dressing and the mutability of female anatomy, and the different plottings of sexuality and marriage in later Jacobean plays. Throughout our readings, we will examine how the period’s dramatists were products of their ideology and culture, as well as producers of them.
- Texts
Norton Anthology of English Renaissance Drama
Course Reader - Requirements
Weekly response papers, careful reading, active participation in class discussion, presentation, two essays, midterm and final exam - Instructor
Hilda Ma TuTh 9:40 – 11:10
**This course satisfies a literature before 1800 requirement.**
**This course is cross-listed with Women’s Studies.**
English 151: American Literature 1800-1900
In this course, we will survey the century of American literature that has been most closely associated with the possibilities of reform: reform of the self, reform of the body politic, reform of the newly established Republic. In our readings of Poe, Emerson, Thoreau, Melville, Hawthorne, Stowe, Douglass, Jacobs, Whitman, Dickinson, Twain, and Chesnutt, we will consider the numerous calls for reform that were made in response to the burdensome legacy of Puritanism, the evils of slavery and racial prejudice, the socio-economic upheavals of the mid-century, and the persistent inequalities between men and women. We will also attend to the innovations in literary form, technique, and strategy that emerged during this time period.
- Readings
The Norton Anthology of American Literature, Vol. B: 1820-1865, 6th Edition,
ed. Nina Baym
Moby-Dick, Herman Melville
The Blithedale Romance, Nathaniel Hawthorne
Uncle Tom’s Cabin, Harriet Beecher Stowe
Pudd’nhead Wilson, Mark Twain
The Conjure Woman, Charles W. Chesnutt
A Course Reader - Requirements
Active class participation, presentations, reading responses, two essays, and midterm and final examinations. - Instructor
Kathryn Koo
T/Th 11:20-12:50
English 152: Twentieth Century American Literature
In this survey course we will read a broad range of American literary works from the twentieth century. We will start at the beginning of the century with Willa Cather’s novel My Antonia, and selections from Booker T. Washington’s Up From Slavery and WEB DuBois’s The Souls of Black Folk. We will examine the impact of the two world wars on the American consciousness and explore American Modernism including readings by authors in the Harlem Renaissance and the Beat Generation. Throughout the course will examine competing notions of American myth, place and memory and explore how voices from the margins, including women and minority authors, have altered our sense of American identity.
- Texts
Norton Anthology of American Literature, Volumes D and E - Grading Requirements
Midterm Exam
Final Exam
2 short papers - Instructor
Molly Metherd MWF 11:30-12:30
English 154: Memory in African-American Literature
The South Africa Freedom Charter states, "our struggle is that of memory agains forgetting." In the United States, founding ideas of national progress were influenced by the desire for freedom from the past. For African-Americans, however, the rupture of slavery and emancipation made their relationship to progress and history more complex. Their struggle became that of memory against forgetting, voice against silence, violent resistance against submission. In this course, we will examine this tension in the works of writers such as Toni Morrison, Richard Wright, Zora Neale Hurston and others.
- Texts
Morrison, Toni. Beloved
Jacobs, Harriet. Incidents in the Life of A Slave Girl
Toomer, Jean. Cane
Wright, Richard. Native Son
Hurston, Zora Neale. Their Eyes Were Watching God
Jones, Gayl. Corregidora
Packer, ZZ. Drinking Coffee Elsewhere
X, Malcolm. The Autobiography of Malcolm X - Requirements
Active class participation
Two essays
One page "talking" papers
Group presentation - Instructor
Jeannine King
T/Th 11:20-12:50
English 170: Sexual/Textual Politics
Sexual Politics, Kate Millet’s book of literary criticism written 30 years ago, stands at the beginning of a long revolution in the study of literature. The title alone indicates the nature of this revolution. What was the word “politics” doing in a book of literary criticism? Millet not only considered four reputable writers from the perspective of gender, but also boldly challenged New Criticism’s insistence on the separation of the text from its social context. “Literature,” as another feminist critic wrote, “is political.” In this course we will explore both these radical moves and their consequences.
By now, Sexual Politics has become a “classic” of feminist literary criticism, a field of literary theory that has become a major force affecting not only the scholarship but also the curriculum of literary study. Still, this well-established field is the scene of lively debate and controversy. Students taking this course will be introduced to, and asked to reflect upon, some of the questions that have made feminist studies such an animated and productive field. What insights can political criticism offer us; what are its pitfalls? Does gender influence the way we read, the way we write? What are the problems of relying on a premise that men and women do write differently? How would such differences, as well as differences in race, class, sexual orientation, etc., be inscribed in writing? As a way of coming to terms with these questions, we will read fiction, criticism and theory.
- Readings
Feminisms: An Anthology of Literary Theory and Criticism, ed. Robyn R.
Warhol and Dian Herndl
Short stories, poems, novels, films by men and women - Requirements
Active participation, weekly written responses and daily questions,
Three substantial essays. - Instructor
Janice Doane MWF 9:10-10:10
Note: This course satisfies the Literary Criticism Requirement for English Majors and is Cross-Listed with Women’s Studies.
English 175: Shakespeare
About four hundred years ago, for reasons no one is quite sure of, the young William Shakespeare arrived in London and made his mark as a writer for the stage. Drama – perhaps even our understanding of human nature – has never been the same.
What is it in Shakespeare’s works that makes every serious reader of literature and every playgoer agree that they are matchless? We will do our best to discover Shakespeare’s special magic by reading, discussing, viewing, and analyzing poems and plays.
- Readings
Sonnets and a selection of plays. - Text
The Riverside Shakespeare - Requirements
Two essays, careful reading, participation, and a final exam. - Instructor
Clinton Bond
MWF 9:10-10:10
Graduate Level Courses
*English 200: Modernism and Modernity
What is the “modernist” movement? When did it start and how did it evolve? When did we get “post-modernist”? How did modernism evolve from decadence, futurism, cubism expressionism? When did they flourish and what do they owe to Picasso, Braque, Dali, Matisse?
What is Dada, surrealism, negritude? How do these aesthetic breakthroughs connect to James, Baudelaire, Breton, Beckett, Stein, Joyce, Eliot, Pound, Fitzgerald? How did Americans react to the modernists? What about Zora Neale Hurston, Langston Hughes, Nella Larsen, Stevens, Fitzgerald, Hemingway? Are they American modernists?
What about Woolf and Lawrence in England? And Orwell, is he a modernist non-fiction writer? We will consider the idea of “modernity,” and explore the ideas and manifestoes that gave rise to its many forms. We will look at social breakdown in the early twentieth centuries that gave rise to new ideas in art, architecture, aesthetics, art. You will choose a theory, writer, or idea to look into, to research, and add your ideas to the mix.
Did modernism arise in reaction to war and revolution, to the breaking of class and gender boundaries, to the influence of technology and psychology?
Let’s unravel some of those threads, and then try your own hand some modern styles. Take a look at the Icon Book Introducing Modernism, a witty overview of modernist writers and thinkers--in cartoon form.
- Texts
Lawrence Rainey. Ed., Modernism: An Anthology, Blackwell 2005.
Chris Rodrigues and Chris Garratt, Introducing Modernism, Totem Books / Icon Books, 2004. - Requirements
Attendance, Participation, Annotated Bibliography on a subject or writer of your choice and write-ups of research articles, leading
to a readable research essay for the members of the class (15-20 pages). - Instructor
Barry Horwitz
T/Th 1:10-2:40
English 211: Fiction Workshop
This graduate fiction workshop focuses on the critical and constructive analysis of student fiction. Short stories, novellas, and novel excerpts are acceptable, and each submission will be treated as a work -in-progress. Students will be expected to offer critique both in terms of their own interpretation of the work, but also in regards to authorial intent. Issues of craft will be integral to the discussion, and students will also examine how the techniques of fiction can both inform (and be informed by) the thematic possibilities of each workshop piece.
The goal of this course is to help students fulfill their vision of their work, so active participation is mandatory, as are extensive written critiques of each piece submitted to the workshop.
- Instructor
Katharine Noel
Wednesday 4:00-7:00
English 212: Poetry Workshop
The purpose of this course is for the student to generate new and original writings in the genre of contemporary poetry; to learn editing and revision skills to improve existing drafts; to learn vocabulary terms for discussing poetry at an advanced level; and to make analytical and intuitive assessments of the writings of others. The student will be asked to produce at least one new draft per week and to revise existing work; time commitment should include work in tutorial sessions with the instructor. Students may also be encouraged to write poetic statements in which they will analyze their own poems---with particular attention to their development over the semester.
- Instructor
Brenda Hillman
Wednesday 4:00-7:00
English 214: Nonfiction Workshop
This course gives students the opportunity to explore material in various areas of nonfiction, such as memoir, personal essay, or travel writing. The course addresses issues of voice, scene, point-of-view, and theme, as well as any other elements of nonfiction writing that will emerge from individual manuscripts. By the end of the course, the students should develop the terminology and the critical skills for revising nonfiction, and should develop a good understanding about issues and trends in the genre.
- Instructor
Rosemary Graham
Wednesday 4:00-7:00
*English 231 Contemporary Fiction
In this seminar, we’ll read contemporary short story collections by both established and emerging writers, and examine them both as a sequence of individual narratives and more importantly, as a unified whole. Through critical reading and discussion, we’ll explore the ways the collections function (or perhaps, in some cases, fail to function) as a cohesive work, and try to determine the deliberateness Joyce claimed when piecing together his own collection. What themes unify the stories within each book? How do attitudes and perspectives on these themes evolve, piece to piece? How does the writer create dramatic movement over the course of several individual stories? What kind of discussion is generated, what specific line of inquiry is raised, when the individual stories are read “in conversation” with one another? These and other questions will guide our analysis of each text, in order to understand more thoroughly the authorial vision and literary possibilities of each work and, more importantly, so that you might better understand your own: whether you are writing a collection of stories or a novel, this course is designed in the hopes that our readings, discussions, and written work will help you recognize the trajectory of your material, the dramatic and thematic interests that keep you writing.
- Instructor
Lysley Tenorio
Tuesday 4:30-7:30
*English 234: Contemporary Creative Nonfiction
This course is a literary survey of contemporary nonfiction, including the personal essay and narrative nonfiction. Students will investigate the relationship between art and culture, between the writer and his or her society. The course will place special emphasis on formal analysis of themes and patterns in contemporary writing. Writers likely to be included are Jo Ann Beard, Joan Didion, Dave Eggers, Lucy Grealy, Pico Iyer, Mary Karr, Philip Lopate, Richard Rodriguez, Terry Tempest Williams, and Tobias Wolff.
- Instructor
Wesley Gibson
Thursday 4:30-7:30
Learning Outcomes
Students will:
- read contemporary nonfiction as writers, analyzing the variety of movements, aesthetic trends, and techniques important to nonfiction in recent decades;
- study the historical and cultural context of the nonfiction at hand;
- connect contemporary trends with earlier texts, particularly the literature of the modern period;
- relate contemporary nonfiction to its professional context, attending to publishing markets and other trends in the field.
*English 262: Craft of Poetry
- Poets have lamented the lack in poetry of any such notation as music has for suggesting sound. But it is there and always has been there. The sentence is the notation. The sentence is before all else just that: a notation for suggesting significant tones of voice. With the sentence that doesn’t suggest significant tones of voice, poetry has no concern whatever.
—Robert Frost - Where we are is in a sentence.
—Jack Spicer
During his recent afternoon conversation at Saint Mary’s, fiction writer Adam Haslett echoed a sentiment I’ve been communicating to poets for a good long time. The gist of it: The way we “feel” literature has much to do with the structure and rhythm of a text’s sentences. What’s more, these structures and rhythms may be as meaningful to the reader as whatever the text happens to be “about,” which means we should probably spend some quality time agonizing over how our poems and stories are built.
Simply put, this course will focus on the sentence (from the Latin sententia—a way of thinking, an opinion—and sentire—to feel, to sense). We will read writers who write about sentences (Virginia Tufte, Stephen Fredman, Mary Kinzie); read writers who write remarkable sentences (Robert Creeley, Amy Hempel, John Berryman, Gertrude Stein, William Faulkner, James Galvin, Henry James, Deirdre McNamer); and write and read some sentences of our own. It’s my hope that this endeavor will return us to our poems (and to those of others) with an increased attention to syntax, clarity, and meaning.
For those anxious to begin, James Wright’s “May Morning” (a pitch-perfect Petrarchan sonnet that happens to be presented to us in prose) should hold you until September:
Deep into spring, winter is hanging on. Bitter and skillful in his hopelessness, he stays alive in every shady place, starving along the Mediterranean: angry to see the glittering sea-pale boulder alive with lizards green as Judas leaves. Winter is hanging on. He still believes. He tries to catch a lizard by the shoulder. One olive tree below Grottaglie welcomes the winter into noontime shade, and talks as softly as Pythagoras. Be still, be patient, I can hear him say, cradling in his arms the wounded head, letting the sunlight touch the savage face.
- Instructor
Graham Foust
T/Th 3:00-4:30
*Open to undergraduates with permission of instructor.
ENGLISH Courses for SPRING 2009
- 19-1 Introduction to Literary Analysis
MWF 11:3, Sandra Grayson - 24 SMPP Assessment & Portfolio
TBA, Janice Doane - 26 Creative Writing Reading Series (.25)
TBA Graham Foust - 29-1 Issues in Literary Study
M/F 12:40, Molly Metherd - 29-2 Issues in Literary Study
T/Th 9:40, Kathryn Koo - 100 Advanced Composition
MWF 11:30, Chris Sindt - 101 Writing Tutor Workshop (.25)
Wed. 3:20, Naomi Schwartz - 102 Creative Writing: Fiction
T/Th 1:10, Lysley Tenorio - 103 British Literature I
T/Th 11:20, Hilda Ma - 104 British Literature II
T/Th 2:50, Barry Horwitz - 105 Children’s Literature
T/Th 8:00, Carol Beran - 110 Linguistics
MWF 2:15, Robert Gorsch - 124 SMPP Assessment & Portfolio TBA Janice Doane
- 125 Film
T/Th 1:10, Lisa Manter - 153 Am. Ethnic Writers & Oral Trad.
T/Th 11:20, Jeannine King - 170 Problems in Literary Theory
MWF 10:20, Ben Xu - 173 Women Writers
MWF 10:20, Janice Doane - 175 Shakespeare
MWF 12:40 David DeRose - 180 Milton
MWF 9:10 Clinton Bond - 198 Senior Honors Thesis
Robert Gorsch
Graduate
- 211 Fiction Workshop
Wed. 4:00, Rosemary Graham - 212 Poetry Workshop
Wed. 4:00 Rusty Morrison - 214 Nonfiction Workshop
Wed. 4:00, TBA - *261 Craft Seminar in Fiction
T/Th 3:00, TBA - *262 Craft Seminar in Poetry Tues. 4:30 Brenda Hillman
- *264 Craft Seminar in Nonfiction Thurs. 4:30 Wesley Gibson
- *Open to advanced undergraduates with permission of instructor.
* * *NOTES
- In addition to English Major Requirements, English 100, 101, 102, 110, 125, 126, 153, 154, 173, 182, 183, 184 can be used to satisfy The Subject Matter Preparation Program.
- English 153 and 173 are cross-listed with Women’s Studies
- English 180 satisfies literature before 1800 requirement for the major
- English 180 satisfies literature before 1900 requirement for the major
- English 153 satisfies the Diversity Requirement
