The Autistic Student Research Paper Example | Topics and Well Written Essays - 2000 words

The Autistic Student - Research Paper Example Individuals who suffer from autism cannot survive without a caregiver in the society and face difficulties when entering a relationship. All these above mentioned factors clearly show that autism is a disorder which needs to be cured to have a better society. For this purpose several cures have been proposed which involve early intervention programs for the children. The question now arises if the cure for autism by intervention and diagnosis is successful or not. In my view governments should take an equal stand in the early intervention programs for the autistic children (Wray et al 2005; Dorothea 2009). An autistic student would possibly be exhibiting many signs of autism which should be noticed by the teacher or the parent to confirm the diagnosis of the disorder. An autistic student may suffer from many problems while studying in the class which can easily be identified. As autistic children have developmental problems they tend to suffer from social problems within the school. Social deficits in the child can be noticed easily as this student cannot make an eye contact with anyone. The student faces problems when socializing with other students and teachers. It can also be noticed that this student does not have friends within the school because of the fear that he may have for socializing with others. ... It is seen that the autistic student cannot speak properly and blabbers at many instances with the teacher. The student cannot interact properly and would use improper gestures to exhibit his feelings. The student does not share his personal feelings nor has the courage to stand for something that he has not done. Even when the students are asked to participate in the class activities it is seen that the autistic student finds it very difficult to participate in them. The student is known to face many problems in the class because of which he has difficulties in studying with other students (Dorothea 2009; Wray et al 2005). The autistic student also faces difficulty when adjusting to specific routines in the school. For example when the timetable of the students is changed from one class to the other the autistic student takes long to get used to the new routine. In simple words these autistic children do not easily adapt to new routines and rituals. The student is also obsessed with certain objects that he sees in his environment. For example some of the autistic students are obsessed with the pencil that they have. At many instances it can be noticed that these autistic students are picking up their pencil and examining it. These characteristics help in confirming that the student is suffering from autism. Lastly the autistic student also displays repetitive behaviors which can be seen in different actions. In the classroom the student is seen to stack pencils and rubbers in an arranged manner. Moreover he often moves while sitting in the same fashion which can be noticed by the teacher. These five characteristics are commonly seen in autistic students which should be noticed by the teacher so that the student can be diagnosed

Compartment Syndrome Essay Example | Topics and Well Written Essays - 1500 words

Compartment Syndrome - Essay Example Any medical phrases seen or read in this paper will be explained and discussed to the fullest as to not confuse anyone. As the name implies, Compartment Syndrome has a lot to do with â€Å"compartments.† Compartment syndrome is a painful condition that results when pressure within the muscles builds to dangerous levels. This prevents nourishment from reaching nerve and muscle cells. Muscle groups in the arms, hands, legs, feet, and buttocks can be affected. Within these muscle groups are nerves and blood vessels. The muscle groups are covered by tough membrane (fascia), which does not readily expand. The whole unit is called a compartment (University of Maryland Medical Center, 2007). These compartments are located within thick layers of connective tissue called fascia, which separates group of muscles in the arms and legs from each other (University of Maryland Medical Center, 2007). Within the enclosed spaces of the fascia, muscles, blood vessels and nerves are found and bundled together. For clearer metaphor, just think of wires surrounded by insulation, in this case, the fascia surrounding, muscles, blood vessels and the nerves. The fascia has limited flexibility. Unlike a balloon, the fascia does not expand. So, if any inflammation or swelling occurs within the compartments, pressure will increase and compress the muscles, blood vessels and nerves inside. If the pressure is high enough, blood flow to the compartment will be blocked which can lead to permanent damage to the muscles and nerves. If the pressure and absence of circulation lasts long enough, the limb may die and may need to be amputated (University of Maryland Medical Center, 2007). The swelling that may lead to Compartment Syndrome most frequently occurs either in the upper or lower extremities of the body, which are the arms and legs. Compartment Syndrome of the upper extremity is rare, but happens

Ethics And Social Responsibility In Strategic Planning

Ethics And Social Responsibility In Strategic Planning Ethics and social responsibility occupy an important place in our personal value system. Customer confidence in how business operates has been severely shaken by recent corporate scandals and collapses, such as Enron and bank failures. Hence it is important for companies to consider incorporating ethics and social responsibility into their strategic planning. This applies whether a company is involved with customers one-on-one, such as a Taco Bell or Dell, Inc., or their involvement is indirect, through their relationship with their clients, such as newspaper distributor Pogo Distribution Company, or wholesale food seller, Del Monte. This paper analyzes what are ethics and social responsibility, how each applies to a companys strategic planning, and the overall impact on stakeholders when ethics and social responsibility is considered in strategic planning. The paper will conclude with how my ethical perspective has evolved throughout the program. The Role of Ethics and Social Responsibility in Strategic Planning To be their most successful, companies must consider ethics and social responsibility as critical parts, inherent components of strategic plan. Ethical and social responsibility criteria must be included as part of the strategic process in before-profit decisions rather than after-profit decisions in order to receive the maximum benefit, i.e. corporate profits. The Role of Ethics in Strategic Planning Reflecting critically and actively on ethical issues is an obligation of every professional. Reflecting such ethical content or implications in ones decisions and actions must be salient in every aspect of how companies operate. Ethics ensure that a company achieves its mission, vision, goals, and objectives in such a manner that they give a company a sense of direction and framework. Ethics ensure guidelines are created that bind the entire organization into one common thread, govern the action of the organizational employees, and avoid deviation from the desired strategic path. Ethics ensure that strategic plan is prepared as per the best interest of all a companys stakeholders, whether employees, vendors, customers or even the society in which the organization operates. What is ethics? According to authors Andre and Velasquez, ethics has two parts. First, it refers to well based standards of right and wrong behavior. What individuals ought to do, usually in terms of rights, obligations, and benefits to society, fairness, or specific virtues. Second, it refers to continually examining our moral beliefs and moral conduct, and striving to live up to these well based standards (Andre, C, Velesquez, M., 1987). Recent corporate scandals such as Enron (Business Wire, 2002), and the collapse of a major Wall Street banking house, Lehman Bros. (Jaffe, 2009), have scarred the business industry. Everyday poor customer service, such as from Dell, Inc. has brought high levels of frustration to customers (Gizmodo, 2010). All have left customers with levels of distrust in our businesses, resulting in more scrutiny from regulatory authorities, government and the public. Adhering to the highest possible ethical standards, and integrating these ethics into their strategic planning, can build a good corporate image in front of all the stakeholders of the organization. Integrating and planning must go beyond compliance issues and reactive disciplinary policies to actually manage integrity. Five ways a company can ensure ethics is included in their strategic planning are: Establish explicit ethical goals and criteria, Demonstrate commitment to ethical goals and criteria, Communicate ethical expectations and train workforce to enact ethical goals and criteria, Assess and monitor employee behavior and decisions, and Maintain on-going proactive integrity continuity management (Valentino, 2007) Such a strong focus on ethics will ensure that each set of stakeholders will be happy and assured that strategic plan will address their needs and wants and the organization will act in the best interest of each stakeholder. The Role of Social Responsibility in Strategic Planning Another major element of todays strategic planning is corporate social responsibility (CSR) where managers face a varied and increasing demand from stakeholders (McWilliams and Siegel, 2001). This demand has been marked by numerous claims linking corporate social responsibility to a firms profits, particularly in professional publications (Kanter, 1999), in the media, and by emerging international CSR organizations such as the United Nations Global Compact. The motivation is laudable: if a positive CSR financial performance relationship can be demonstrated, and then firms will be motivated to increase spending on CSR activities. However, academic research to date has been inconclusive, finding positive, negative and curvilinear relationships between CSR and financial performance (McWilliam and Siegel; Margolis and Walsh, 2001). Nevertheless, for those companies who include social responsibility as one of their criteria, companies are leaving no stone unturned to ensure that they co ntribute to the improvement and well being of the society, while minimizing any negative impact of their operations on the society. Thus CSR focuses on two areas: Internal behaviors, which refers to the way a corporation conducts the day-to-day operations of its core business functions, and External behaviors, which refers to a corporations engagement outside of its direct business interest (Jones, 2004). It goes beyond good public relations tactics or being nice to have. (Valentino, 2007). Internal behavior planning generally starts in the Human Resource Department. It can be an aid to recruitment and retention. (Lingham, 2009). Examples are going green, matching employee charitable contributions; creating help the community programs, and sponsoring community events. While external behaviors can include the latter three internal behaviors, they differ from internal CSR because management and public relations will consider the financial impact of their decisions because of their stakeholders, such as owners and shareholders. Business exists for many reasons but survival ultimately depends on profits. My Ethical Perspective My ethical perspective has broadened via this program as I have understood the linkage between ethics and its implications on the organization from strategic perspective. I have understood the strategic importance of ethics in terms of benefiting all the stakeholders of an organization and its importance in the organizations day to day operations. The program has taught me the relationship between ethics and the different components of the strategic plan of the organization. The future of our organizations, the people they represent, and the wider community can only be strengthened by embedding ethics into the strategic planning process. Ethics should be central, not peripheral, to the overall management of the firm.

Victor Frankenstein is the Monster in Mary Shelleys Frankenstein Essay

Victor Frankenstein is the Monster in Mary Shelley's Frankenstein   Ã‚  Ã‚  Ã‚  Ã‚  Through out the novel we are under the assumption that the demon in the novel is the man who is disfigured and hideous on the outside. While we view Victor Frankenstein as the handsome and caring victim, even though sometimes a monster cannot be seen but heard. Looks can be deceiving but actions are always true.   Ã‚  Ã‚  Ã‚  Ã‚  We first view Frankenstein’s ignorance while he is busy in his work. He had not visited his family for two straight years. These are the people that love and care about him, yet he does not go home. Not even to visit his own father, the man who pays for his schooling and necessities.   Ã‚  Ã‚  Ã‚  Ã‚  We again view his ignorance and irresponsibility when after spending two years of work on his creature he disowns and abandons the creature. He runs out of the room after seeing the creature come to life. He fled the room because he thought the creature was so hideous, even though he had chosen all the best body parts for its creation. When Frankenstein returns to the house when he â€Å"became assured that my enemy had indeed fled, I clapped my hands for joy†(55). Even after all his work he is ecstatic that this horrible beast has left him.   Ã‚  Ã‚  Ã‚  Ã‚  Victors’ ignorance is viewed again when he does not tell anyone that he has created this monster, and that he is the murderer of William. He does not tell of this creature until his own welfare is on the line. He could have stopped these evil deeds the mons...

Charles Bukowski’s Diction

Diction refers to the writer's distinctive vocabulary choices and style of expression in a poem or story. A secondary, common meaning is more precisely expressed with the word enunciation – the art of speaking clearly so that each word is clearly heard and understood to its fullest complexity and extremity. Diction has multiple concerns; register words being either formal or informal in social contexts. Literary diction analysis reveals how a passage establishes tone and characterization. Knowing this, how can we apply this conception to Bukowski's works? It's simple: What is most important about Bukowski's works is the accessibility.His works are written in plain language which makes them a fast read, and â€Å"easily† translatable (although the bests are always the originals). Charles Bukowski's style is reportedly one of the most imitated in the world due to its simplicity, and has influenced numerous writers in the realism movement, which doesn't mean that this styl e is an easy choice, mostly because his writing was, among other peculiarities, heavily influenced by the geography and atmosphere of his home city (Los Angeles) and is marked by an emphasis on the ordinary lives of poor Americans, the act of writing, alcohol, relationships with women, and the drudgery of work.His voice is from people who occupies a place among those outcasts, outlaws, madmen and solitaries whose outspoken visions achieved against all odds a global presence. Henry Miller, Samuel Beckett, Jack Kerouac, Allen Ginsberg, Hubert Selby Jr. and William Burroughs were some authors who, as Bukowski, made use of these themes to expess their own points of view in a very particular way, being Bukowski the most â€Å"objective and clear† and non-scholarly one of them.Yet, even among such outsiders, he remains outside, a consummate loner, since the others, unlike him, reveal in their various styles a certain hard-won haggling with literature that was, to him, the stuff of dupes. The tone of most of Bukowski's works is autobiographic and often reffers to his feelings of a permanently disfigured boy in early adolescence by painful boils, so severe that they had to be surgically lanced.He also worked in a succession of heartbreaking menial jobs, culminating in a numbing nine-year stint in the U. S. Post Office, facts that would give him a lot to write about, especially his feelings in relation to these facts. He perfectly depicted the depravity of urban life and the downtrodden in American society. Bukowski relied on experience, emotion, and imagination in his work, using direct language, violence and sexual imagery.He writes with a nothing-to-lose truthfulness which sets him apart from most other autobiographical novelists and poets. He has established himself as a writer with a consistent and insistent style based on what he projects as his ‘personality,’ the result of hard, intense living and the sense of a desolate, abandoned world. In addition to desolation, Bukowski’s free verse tackles the absurdities of life, especially in relation to death.The subject matters of this world are also drinking, sex, gambling, and music; the Bukowski style, however, is like a crisp, hard voice; an excellent ear and eye for measuring out the lengths of lines; and an avoidance of metaphor where a lively anecdote will do the same dramatic work. Furthermore, his grace with words gives a comic gleam to even his meanest revelations. Bukowski’s poems give the impression that they're best appreciated not as individual verbal artifacts but as ongoing installments in the tale of his true adventures, like a comic book or a movie serial.They are strongly narrative, drawing from an endless supply of anecdotes that typically involve, for ex: a bar, a skid-row hotel, a horse race, a girlfriend, or any permutation thereof. Bukowski’s free verse is really a series of declarative sentences broken up into a long column, the sho rt lines giving an impression of speed and terseness even when the language is sentimental or cliche. Maybe that is the reason of way the readers feel so close to him, as we're talking to a close friend.The fact is that, with his own simple diction, which is so direct and easy understandable (but yet deep, sensitive and real at the same time) we can really feel ourselves in what he's talking about, even if we have no idea of what it is like to be in his shoes. In the end, we relate his experiences as the world and people as they really are, and we can't hide from it any longer. it's true: pain and suffering helps to create what we call art. given the choice I'd never choose this damned pain and suffering for myself but somehow it finds me as the royalties continue to roll on in.

English William Shakespeare

?ENGLISH NOTES 2012-2013 Advising and Preregistration ONLY declared English majors (who have formally declared their major by Monday, April 30th) may preregister for English classes via the web on Monday, May 7th during their registration appointment times according to the following schedule: The last day to add a class for Fall Quarter is Friday, September 7th. The last day to drop a class for Fall Quarter is yet to be determined. PLEASE NOTE: The Registrar has indicated that students may preregister for a maximum of two courses in any one department.Students can sign up for additional courses in that department during regular advanced registration. Information Sources When you declare, the undergraduate program assistant automatically signs you up for the departmental listserv. Consult your email regularly for announcements about upcoming deadlines and special events. Additional information is posted in University Hall, published in the WCAS column in the Daily Northwestern, and po sted on the English Department web page at URL: www. english. northwestern. edu. Also, up-to-date information on courses can be found on the Registrar's home page at: http://www. registrar. northwestern. du/ Contact the English Department: Northwestern University Department of English 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http://www. english. northwestern. edu/ [email  protected] edu 1 ?ENGLISH NOTES 2012-2013 Applications for the following are available early spring quarter through either the English Office in University Hall 215 or the departmental website at www. english. northwestern. edu Annual Writing Competition The English Department will be conducting its annual writing competition Spring Quarter, with prizes to be awarded in the categories of essay, fiction, and poetry.Announcements about specific prizes, eligibility and submission will be available in the English office by April 1st. The following rules apply: 1) Students may not enter competitions for which they are not eligible. 2) Students may submit only one work per genre. 3) The maximum length for essay and fiction manuscript is 20 pages; the maximum length for a poetry manuscript is 10 pages or 3 poems. Students should submit only one copy of each work. The deadline for submission of manuscripts for the 2012 contest is Thursday, May 3rd by 3:00pm. Awards will be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined.A reception will follow. Literature Major 399 Proposals Individual projects with faculty guidance. Open to majors with junior or senior standing and to senior minors. Students interested in applying for independent study in literature during spring quarter should see the potential adviser as soon as possible. Guidelines for 399 are available in UH 215 and on the English webpage. Writing Major Honors Proposals Writing majors should apply for Honors in the spring of their junior year. The department will have application forms available early spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined.Literature Major 398 Honors Applications Literature majors who wish to earn honors may apply during the spring of their junior year for admission to the two- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is Professor Paul Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 4:30pm. Declaring the Major or Minor In the past, in order to declare the English Major or Minor, students needed to complete prerequisites. Prerequisites are no longer required to declare the Major or Minor.To declare the Major or Minor, pick up the appropriate declaration form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated office hours. At this point, the new major will choose a Departmental Advisor and become eligi ble for English preregistration in succeeding quarters. WCAS policy requires instructors to return student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distributed in any public place. **Reminder to Seniors: Seniors who have not yet filed their Petitions to Graduate must do so immediately. A Calendar of Course Offerings Taught by English Department Faculty *Class times and course descriptions are subject to change without notice. 105 Expository Writing 205 Intermediate Composition 206 Reading & Writing Poetry MW 9:30-10:50 Webster MWF 11-11:50 Curdy MWF 1-1:50 Kinzie MWF 2-2:50 Curdy TTh 9:30-10:50 Goldbloom MWF 10-10:50 Bresland MW 9:30-10:50 Webster MW 3:30-4:50 Curdy TTh 12:30-1:50 Altman TTh 2-3:20 Breslin MW 11-12:20 Seliy MW 12:30-1:50 Donohue TTh 9:30-10:50 Goldbloom TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Bouldrey TTh 9:30-10:50 Bresland TTh 2-3:20 Bresland MWF 1-1:50 Lane (210-2)MWF 1-1:50 Gibbons MW 3:30-4:50 Curdy M WF 11-11:50 Webster MW 11-12:20 Seliy TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Biss MWF 2-2:50 Webster TTh 9:30-10:50 Kinzie TTh 11-12:20 Bouldrey MWF 11-11:50 Soni (210-1) 207 Reading & Writing Fiction 208 Reading & Writing Creative Non Fiction 210-2,1 English Literary Traditions (Additional Discussion Section Required) FALL WINTER SPRING Several Sections Offered Each Quarter Several Sections Offered Each Quarter ? 3 211 212 213 220 Gender Studies 231 234 270-1,2 273 275 298 302 306 307 Introduction to Poetry (Additional Discussion Section Required) Introduction to DramaIntroduction to Fiction (Additional Discussion Section Required) The Bible as Literature (Additional Discussion Section Required) Gender Studies Introduction toShakespeare (Additional Discussion Section Required) American Literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American Literature (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Se minar in Reading and Interpretation History of the English Language Advanced Poetry Writing Advanced Creative Writing MWF 11-11:50 Gottlieb FALL WINTER SPRING TTh 9:30-10:50 Phillips MWF 12-12:50 Erkkila (270-1)MW 12:30-1:50 Kim MWF 11-11:50 Grossman TTh 9:30-10:50 Thompson TTh 3:30-:50 Roberts TTh 11-12:20 Breen TTh 12:30-1:50 Goldbloom MWF 12-12:50 N. Davis MWF 2-2:50 Feinsod TTh 11-12:20 Cutler TTh 3:30-4:50 Lahey MW 2-3:20 Gibbons TTh 2-3:20 Kinzie TTh 11-12:20 Froula MWF 11-11:50 Thompson MWF 12-12:50 Stern (270-2) TTh 9:30-10:50 Erkkila TTh 11-12:20 Phillips TTh 2-3:20 Harris TTh 12:30-1:50 Dybek TTh 3:30-4:50 Cross MWF 1-1:50 Manning MWF 10-10:50 Newman ?4 311 Studies in Poetry 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration & 18th Century Literature 353 Studies in Romantic Liter ature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 12:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T. Davis MWF 10-10:50 Breen MWF 11-11:50 Newman TTh 9:30-10:50 Masten TTh 11-12:20 Evans TTh 2-3:20 Grossman/Soni TTh 9:30-10:50 Soni MW 3:30-4:50 Lane MW 11-12:20 WeheliyeMW 3:30-4:50 Hedman MW 9:30-10:50 Johnson MWF 1-1:50 Newman TTh 3:30-4:50 Harris MW 11-12:20 West MW 3:30-4:50 Evans TTh 12:30-1:50 Harris TTh 2-3:20 Sucich TTh 11-12:20 Roberts TTh 11-12:20 Lane TTh 12:30-1:50 Lahey TTh 9:30-10:50 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American Novel 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in Theory and Criticism 385 Topics in Combined Studies 386 Studie s in Literature and Film 393- Theory & Practice of Poetry FW/TS 394- Theory & Practice of Fiction FW/TS 95- Theory & Practice of FW/TS Creative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 12:30-1:50 Hedman TTh 4-5:20 Mwangi TTh 2-3:20 Mwangi MWF 11-11:50 Lahey MWF 2-2:50 Grossman MWF 10-10:50 Bouldrey TTh 3:30-4:50 Weheliye MWF 1-1:50 Leong MW 3:30-4:50 Leahy MW 12:30-1:50 Webster MW 12:30-1:50 Bouldrey MW 12:30-1:50 Bresland W 3-5 Breslin MWF 11-11:50 Hedman MW 12:30-1:50 Passin TTh 12:30-1:50 Cross MW 3:30-4:50 Stern TTh 2-3:20 Erkkila MWF 1-1:50 Cutler MW 2-3:20 Roberts TTh 12:30-1:50 Lahey MW 2-3:20 Froula TTh 2-3:20 N. Davis TTh 3:30-4:50 Leong MW 12:30-1:50 Webster/Curdy MW 12:30-1:50 Bouldrey/SeliyMW 12:30-1:50 Bresland/Bouldrey W 3-5 Breslin MW 9:30-10:50 diBattista MW 12:30-1:50 Passin TTh 11-12:20 Froula T 6-8:20 diBattista TTh 3:30-4:50 Cutler MWF 10-10:50 Smith TTh 12:30-1:50 Savage MWF 2-2:50 Soni MWF 1-1:50 Breslin MWF 11-11:50 Feinsod MW 12:30-1:50 Curdy MW 1 2:30-1:50 Seliy MW 12:30-1:50 Biss FALL WINTER SPRING ?6 399 Independent Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 [Prerequisite to English Major in Writing] Reading & Writing Poetry Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic.Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the Anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Prerequisites: No prerequisites. No P/N registration. Attendance of first class is mandatory.Course especially recommended for prospective Writing Majors. Literature Maj ors also welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and in class participation of students’ understanding of poetry; improvement will count for a great deal with the instructor in estimating achievement.Texts include: An Anthology, a critical guide, 206 Reader prepared by the instructor, and the work of the other students. [Prerequisite to English Major in Writing] Reading & Writing Fiction Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and dist ance to shape their art.Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Prerequisites: English 206. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion of readings and principles; workshop of student drafts.Evaluation Method: Evidence given in written work and in class participation of students’ growing understanding of fiction; improvement will count for a great deal with the instructor in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Fall Quarter: Rachel Webster Averill Curdy Mary Kinzie Averill Curdy Winter Quarter: Rachel Webster Averill Curdy Toby Altman Paul Breslin Spring Quarter: Reg Gibbons A verill Curdy Rachel Webster ENG 207 MW 9:30-10:50 MWF 11-11:50 MWF 1-1:50 MWF 2-2:50 MW 9:30-10:50 MW 3:30-4:50 TTh 12:30-1:50 TTh 2-3:20MWF 1-1:50 MW 3:30-4:50 MWF 11-11:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 Sec. 23 Sec. 24 Sec. 20 Sec. 21 Sec. 22 Fall Quarter: Goldie Goldbloom Winter Quarter: Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter: Shauna Seliy Goldie Goldbloom TTh 9:30-10:50 MW 11-12:20 MW 12:30-1:50 TTh 9:30-10:50 TTh 12:30-1:50 MW 11-12:20 TTh 12:30-1:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 ENG 208 [Prerequisite to English Major in Writing] Reading & Writing Creative Non Fiction Course Description: An introduction to some of the many possible voices, styles, and structures of the creative essay.Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and 8 fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Prerequisites: English 206. No P/N registration.Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Note: Prerequisite to the English Major in Writing. Fall Quarter: moment, does it become possible to ignore or overlook the political projects embedded in these texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will consider how importan t it is to understand these texts from a political erspective, and wonder why this perspective is so often ignored in favor of psychologizing and subjectivizing readings. Teaching Method: Two lectures per week, plus a required discussion section. Evaluation Method: Regular reading quizzes (15%); class participation (25%); midterm exam (20%); final exam (20%); final paper (20%). Texts include: Beowulf; Mystery Plays; Chaucer, Canterbury Tales; More, Utopia; Sidney, Defense of Poesy; Shakespeare, Tempest and selected sonnets; Milton, Paradise Lost; Behn, Oroonoko; Swift, Gulliver’s Travels. ENG 210-2 English Literary Traditions Christopher LaneMWF 1-1:50 Winter Quarter Course Description: English 210-2 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement. This course is a chronological survey of important, representative, and highly enjoyable British works from Romanticism to the modern period (rou ghly the French Revolution to the First World War). Focusing on poetry, drama, essays, and several short novels, we'll examine compelling themes, styles, movements, and cultural arguments, paying particular attention to the way literary texts are located in history.For perspective, the course also tackles several comparative issues in nineteenth-century art and intellectual history, drawing on such large-scale themes as tensions between individuals and communities, the narrative fate of women and men, and the vexed, uncertain role of authors as commentators on their social contexts. An overview of English literary history and its traditions during a fascinating century, English 210-2 provides excellent training in the analysis of fiction. Teaching Method: Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). John Bresland Winter Quarter: Brian Bouldrey John Bresland John Bresland Spring Quarter: Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-10:50 MW 9:30-10:50 TTh 9:30-10:50 TTh 2-3:20 MW 9:30-10:50 MWF 2-2:50 TTh 9:30-10:50 TTh 11-12:20 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ENG 210-1 English Literary Traditions Vivisvan Soni MWF 11-11:50 Spring Quarter Course Description: English 210-1 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement.This course is an introduction to the early English literary canon, extending from the late medieval period through the eighteenth century. In addition to gaining a general familiarity with some of the most influential texts of English literature, we will be especially interested in discovering how literary texts construct, engage in and transform political discourse. What kinds of political intervention are literary texts capable of making? What are the political implications of particular rhetorical strategies and generic choices? How do literary texts encode or allegorize particular political questions?How, at a particular historical ? 9 Evaluation Method: Two short analytical papers; one final essay; performance in discussion section; final exam. Texts include: The Norton Anthology of English Literature: The Major Authors (8th edition; volume B); Jane Austen, Sense and Sensibility (Penguin); Charles Dickens, Hard Times (Norton); Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy new or used copies of the editions specified. Texts available at: The Norris Center Bookstore. ENG 211 Introduction to Poetry: The Experience and Logic of Poetry Susannah Gottlieb MWF 11-11:50 Fall QuarterCourse Description: The experience of poetry can be understood in it at least two radically different ways: as a raw encounter with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry includes both of these models, and theories of poetry from antiquity to the present da y have grappled with these two dimensions of the poetic experience. In order to understand a poem, a reader must, in some sense, enter into its unique and complex logic, while nevertheless remaining open to the sometimes unsettling ways it can surprise us.In this class, we will read some of the greatest lyric poems written in English, as we systematically develop an understanding of the formal techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come prepared to encounter poems as new and unfamiliar terrain (even if you've read a particular poem before), as we methodically work through the formal elements of the poetic process. Teaching Method: Lectures and weekly discussion groups. Evaluation Method: Three papers (5-7 pages), weekly exercises, active participation in section discussions, and a final exam.Texts Include: The Norton Anthology of Poetry. ENG 212 Introduction to Drama: Modernism in Performance Susan Manning MWF 1-1:50 Sp ring Quarter Course Description: This survey course follows the emergence of modernism in diverse genres of theatrical performance—drama, dance, cabaret, and music theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late 19th century and through the first half of the 20th century, practices that have continued to inspire theatre artists into the present.Readings are complemented by film and video viewings and by excursions to Chicago-area theatres. Teaching Method: lecture with weekly discussion sections Evaluation Method: three short papers and a take- home final exam. Texts include: Noel Witts, ed. , The Twentieth- Century Performance Reader (3rd edition); Gunter Berghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction: Worlds in a Grain of Sand Christine Froula TTh 11-12:20 Winter Quarter Course Description: What is fiction? How is it different from history, biography, nonfiction?How and why do peop le invent and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course we’ll study a selection of fictional narratives from around the globe and from different historical moments, in a variety of prose and verse forms—short story, novella, novel, myth, story cycle, serial—and in visual and aural as well as literary media: ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound put it, literature is news that stays news, we’ll consider how these fictional works bring news from near and far.We’ll think about the traditions, and occasions of storytelling, the narrators who convey them, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one another, as well as to audiences and communities within and across cultures. We’ll consider whether and how each work’s historical origin and context may illuminate ? 10 the situation and conflict it depicts; and how its point of view, narrative voice, techniques of character- drawing, plot, imagery, dialogue, style, beginning and end help shape our questions and interpretations.As we taste some of â€Å"the rarest and ripest fruit of art which human thought has to offer,† in Nabokov’s words, we’ll seek to develop skills and awareness that will deepen our pleasure in the inexhaustible riches of imaginative literature. Teaching Method: Lecture and Discussion Evaluation Method: Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include: Texts and course packet TBA. Texts Include: Bible, New Revised Standard Version (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender Studies:Feminism as Cultural Critique Helen Thompson MWF 11-11:50 Winter Quarter Course Description: In this class, we will consider the origins and ongoing powers of feminism as a critique of culture. At its origins in the 1790s through the middle of the twentieth century, modern Western feminism fought on two fronts, condemning women’s legal and political disenfranchisement as well as more subtle practices and norms, like the wearing of corsets, that shored up women’s subordinate status at the level of everyday life.In this class, we will explore feminism in America after the legal and political battle has, to some extent, been won: we’ll examine the so-called second wave of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the feminist movement dedicated its critical energies to problems that persisted beyond women’s nominal political and legal enfranchisement.By disrupting everyday institutions like the Miss America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate just as powerfully as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, in this class we will encounter a variety of media: academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries.An ongoing goal of the class will be to explore the critical methodologies enabled by the second wave. What tools does second-wave feminism use to read culture? What tools does second-wave feminism use to re-tell history? The class will begin by looking at part of Simone de Beauvoir’s The Second Sex (French, 1949; English, 1953) to examine how its foundational claim that â€Å"one is not born, but rather becomes, a woman† invites us to analyze culture rather than nature. The remainder of the class is broken into units.Unit One, â€Å"Beauty,† includes the documentary â€Å"Miss . . . or Myth? † (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of wom en’s looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, â€Å"Housework/ Domesticity,† covers pivotal texts on women’s lives at home (â€Å"The Politics of Housework,† â€Å"The ENGLISH 220 The Bible as Literature Barbara Newman MWF 10-10:50 Combined w/ CLS 210 Spring QuarterCourse Description: This course is intended to familiarize literary students with the most influential text in Western culture. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres and strategies in the Bible; the historical situation of its writers; the representation of God as a literary character; recurrent images and themes; the Bible as a national epic; the New Testament as a radical reinterpretation of the â€Å"Old Testament† (or Hebrew Bible); and the overall narrative as a plot with beginning, middle, and end.Since time will not permit a complete reading of the Bible, we will c oncentrate on those books that display the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah; the Gospels according to Luke and John, and the Book of Revelation. We will look more briefly at issues of translation; traditional strategies of interpretation (such as midrash, typology, and harmonization); and the historical processes involved in constructing the Biblical canon.Teaching Method: Three lectures, one discussion section per week. Evaluation Method: Two midterms and final exam, each worth 25% of grade; participation in sections; occasional response papers; some interactive discussion during lectures. ?11 Personal is Political,† â€Å"Why I Want a Wife,† and others); we will examine one mainstream reaction to the feminist critique of domestic labor, Ira Levin’s horror novel and adapted film The Stepford Wives.Unit Three, â€Å"Sex,† will look at second-wave femin ist challenges to both the social and anatomical determinants of eroticism and pleasure (The Myth of the Vaginal Orgasm, Sex and the Single Girl, Lesbian Nation, Pornography); we will read one early 70s feminist novel (Erica Jong, Fear of Flying) and one early 70s mainstream romance (Janet Woodiwiss, The Flame and the Flower) to examine their contesting representations of women’s sexual desire and agency.In the course of this comparison, we’ll take up the issue of rape, or â€Å"rape culture† (Susan Brownmiller, Against our Will, and others); the material conditions and ideologies at stake in romance reading; and the charge that second-wave feminism reflected the concerns of only white middle-class women (bell hooks, Ain’t I A Woman? ). Unit Four of the class will look at feminist cultural production. We’ll look at avant-garde art (short films include Carolee Schneeman’s â€Å"Meat Joy,† Martha Rosler’s â€Å"Semiotics of the Kitchen,† and other videos, images, and performances) and artistic provocations (like Valerie Solanas, â€Å"The S.C. U. M. Manifesto†) to consider how these texts challenge high art and cultural values down to the present day. Macbeth, Henry V, Anthony and Cleopatra, Measure for Measure, and The Tempest. Teaching Method: Lectures with Q; required weekly discussion section. Evaluation Method: Attendance and section participation, two papers, midterm, final exam. Texts include: The required textbook is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at: Norris Center Bookstore. ENG 234Introduction to Shakespeare Susie Phillips TTh 9:30-10:50 Fall Quarter Course Description: What spooks America? From the Puritan â€Å"city upon a Hill,† to Tom Paine’s Common Sense, to Emerson’s American Adam, America was imagined as a New World paradise, a place to begin the world anew. And yet, from the story of Pocahontas and John Smith, to the origins of the American Gothic in the Age of Reason, to Melville’s Moby Dick, American literature has been haunted by fantasies of terror, sin, violence, and apocalypse.Why? This course will seek to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a slave narrative, we shall seek to identify and understand the significance of the terrors—of the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypse—that haunt and spook the origins and development of American literature.Students will be encouraged to draw connections between past American fantasies and fears and contemporary popular culture and politics, from classic American films like Hitchcock’s Psycho to The Hunger Games, from American blues and jazz to Michael Jackson’s Thriller, from the Red Scare and the Cold War to the war on terror. Teaching method: Lecture and discuss ion; weekly discussion sections. Evaluation Method: 2 papers; quizzes; final examination.Texts Include: The Norton Anthology of American Literature: Beginnings to 1820 (Volume A; 8th edition); Charles Brockden Brown, Edgar Huntly; or Course Description: This course will introduce students to a range of Shakespeare’s comedies, tragedies, histories and romances. During the quarter, we will be considering these plays in their Early Modern context—cultural, political, literary and theatrical. We will focus centrally on matters of performance and of text.How is our interpretation of a play shaped by Shakespeare’s various â€Å"texts†Ã¢â‚¬â€ his stories and their histories, the works of his contemporaries, the latest literary fashions, and the various versions of his plays that circulated among his audience? Similarly, how do the details of a given performance, or the presence of a particular audience, alter the experience of the play? To answer these question s, we will consider not only the theaters of Early Modern England, but also recent cinematic versions of the plays, and we will read not only our modern edition of Shakespeare but also examine some pages from the plays as they originally circulated.Our readings may include Much Ado About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions: What Spooks America? Betsy Erkkila MWF 12-12:50 Fall Quarter ?12 Memoirs of a Sleep-Walker; Ralph Waldo Emerson, Selected Writings; Edgar Allan Poe, Great Short Works; Frederick Douglass, The Narrative of Frederick Douglass; Nathaniel Hawthorne, The Scarlet Letter; Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit.Nick Davis MWF 12-12:50 Spring Quarter Course Description: This course aims to draw English majors and non-majors alike into a substantive, wide-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the 1920s to th e present moment. In all of the literature we read, the impressions we form, and the insights we exchange, we will track complex evolutions of â€Å"America,† both as a nation and as a notion, deepened and ransformed over time by new ideas about language, history, movement and migration, individuality and collectivity, social positioning, regional identities, political attitudes, and other forces that shape, surround, and speak through the texts. However, we shall remind ourselves at all points that literature is not just a mirror but an engine of culture; it produces its own effects and invites us into new, complicated perspectives about language, form, structure, voice, style, theme, and the marvelous, subtle filaments that connect any text to its readers.Teaching Method: Lecture and discussion Evaluation Method: Two formal essays, quizzes, and a final exam, plus participation in discussion sections and occasionally in lecture Texts include: William Faulkner’s As I L ay Dying; Marita Bonner’s The Purple Flower; Nathanael West’s Miss Lonelyhearts; Don DeLillo’s White Noise; Suzan-Lori Parks’s The America Play; and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-12:50 Winter Quarter Course Description: This course is a survey of American literature from the decade preceding the Civil War to 1900.In lectures and discussion sections, we shall explore the divergent textual voices – white and black, male and female, poor and rich, slave and free – that constitute the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions: What does it mean to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the tragedy and the triumph of the Civil War inflect American poetry and narrative?And how do post- bellum writers represent the complexities of democracy, particularly the gains and losses of Reconstruction, the advent of and resistance to the â€Å"New Woman,† and the class struggle in the newly reunited nation? Evaluation Method: Evaluation will be based on two short (3-page) essays, in which students will perform a close reading of a literary passage from one of the texts on the syllabus; a final examination, involving short answers and essays; and active participation in section and lecture. Texts include: Herman Melville, â€Å"Bartleby,Scrivener†; Harriet Wilson, Our Nig; Rebecca Harding Davis, â€Å"Life in the Iron Mills†; Harriet Jacobs, Incidents in the Life of a Slave Girl; Emily Dickinson, selected poems; Walt Whitman, â€Å"Song of Myself† and other selected poems; Mark Twain, The Adventures of Huckleberry Finn; Charles Chestnut, selected tales; Kate Chopin, The Awakening. Textbooks will be available at: Norris Bookstore. Note: Attendance at all sections is required; anyone who misses more than one section meeting will fail the course unless both his or her T. A. and the professor give permission to continue.ENG 275/co-listed w/ Asian_Am 275 Introduction to Asian American Studies Jinah Kim MW 12:30-1:50 Fall Quarter Course Description: This course examines literature, film, and critical theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how Asian American literature and theory engages themes and questions in literary studies, particularly related to questions of race, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies.For example, how does Carlos Bulosan draw on tropes and images of 1930’s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and domestic migrant workers? How does Siu Sin Far use sentimentalism as a strategy to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of W WII? Thus we are also learning to ‘deconstruct’ the text and understand how Asian American literature and culture offers a parallax view into American history, culture and political economy.Starting from the premise that Asian America operates as a contested category of ethnic and national identity we will consider how Asian American literatures and cultures â€Å"defamiliarize† American exceptionalist claims to pluralism, modernity, and progress. The novels, short stories, plays and films we will study in this class chart an ongoing movement in Asian American studies from negotiating the demands for domesticated narratives of immigrant assimilation to crafting new modes of ritique highlighting Asian America’s transnational and postcolonial history and poesis. Teaching Method: Lecture, Discussion, Readings, Class participation, Guest speakers, Writing assignments, Films / video. Evaluation Method: Presentations, attendance, class participation, mid-term pa per, final paper. Texts Include: Carlos Bulosan, America is in the Heart, University of Washington Press, 1974; Don Lee, Country of Origin, W. W.Norton and Company, 2004; Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990; Jhumpa Lahiri, Interpreter of Maladies, Mariner Books, 1999; Susan Choi, Foreign Student, Harper Collins, 1992; John Okada, No-No Boy University of Washington Press, 1978; A required reader is available from Quartet Copies and films for the course will stream on blackboard. ENG 298 Introductory Seminar in Reading and Interpretation Course Description: English 298 emphasizes practice in the close reading and analysis of literature in relation to important critical issues and perspectives in literary study.Along with English 210-1,2 or 270- 1,2 it is a prerequisite for the English Literature Major. The enrollment will be limited to 15 students in each section. Nine sections will be offered each year (three each quarter), and their speci fic contents will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active learning and attention to writing as part of an introduction both to the development of the skills of close reading and interpretation and to gaining familiarity and expertise in the possibility of the critical thinking.Prerequisites: One quarter of 210 or 270. Note: First class mandatory. No P/N registration. This course does NOT fulfill the WCAS Area VI distribution requirement. Fall Quarter: Jay Grossman Helen Thompson Wendy Roberts Winter Quarter: Betsy Erkkila Susie Phillips Carissa Harris Spring Quarter: Harris Feinsod John Alba Cutler Sarah Lahey FQ Section 20: MWF 11-11:50 TTh 9:30-10:50 TTh 3:30-4:50 TTh 9:30-10:50 TTh 11-12:20 TTh 2-3:20 MWF 2-2:50 TTh 11-12:20 TTh 3:30-4:50 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20Section 20 Section 21 Section 22 Literary Study: â€Å"Coming to Terms† Jay Grossman M WF 11-11:50 Course Description: This seminar will introduce you to some of terms–and through these terms, to some of the materials, methods, theories, and arguments– that have become central to literary study today. By coming to know these terms, we will begin to come to terms with literary study in other, broader ways–to think about what the study of texts might have to do with reading, writing, and thinking in twenty-first century American culture.The seminar is organized around the following terms: writing, author, culture, canon, gender, performance. Some of these terms are of course familiar. Initially, some will seem impossibly broad, but our approach will be particular, through particular literary texts and critical essays. Throughout the course we will also return to two important terms that aren't a part of this list: literature (what is it? who or what controls its meaning? why study it? ) and readers (who are we? what is our relation to the text and i ts meaning[s]? what does â€Å"reading† entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method: Mostly discussion. Evaluation method: Mandatory attendance and active participation. Shorter papers, some of them revised, and one longer final paper. No exams. Texts Include: Mostly fiction and poetry, including some of the following: Walt Whitman, Leaves of Grass; Emily Dickinson’s poetry; Elizabeth Bishop, Geography III; Michael Chabon, The Mysteries of Pittsburgh; Henry Blake Fuller, Bertram Cope’s Year; Critical Terms for Literary Study (eds.Lentricchia and McLaughlin; second edition). FQ Section 21: Romanticism and Criticism Helen Thompson TTh 9:30-10:50 Course Description: This seminar pairs a series of key texts in the history of critical thought with canonical fiction and poetry of the Romantic era. You’ll learn about critical movements— psychoanalysis, Marxism, feminism, and post- structuralism or deconstr uction—by testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the class proceeds, you’ll be able to mix and match critical and literary texts to experiment with the kinds of interpretations and arguments their conjunctions make possible. How do entities like history, class struggle, the unconscious, manifest versus latent content, patriarchy, the body, sex, gender, signification, and textuality continue to engender literary meaning and galvanize the claims we make for the poems and novels we read?We’ll pair Karl Marx’s Communist Manifesto and William Blake’s Songs of Innocence and Songs of Experience; Sigmund Freud’s The Interpretation of Dreams and Mary Shelley’s Frankenstein; William Wordsworth’s Lyrical Ballads and key essays in Jacques Derrida’s theory of deconstruction; and Jane Austen’s Pride and Prejudice and Simone de Beauvoir’s The Second Sex. T here will be short supplemental critical or historical materials to flesh out some of these methodologies and provide context for the literary texts.Again, you’ll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your appreciation of not only the substantive claims made by Marx, Freud, Derrida, and Beauvoir, but also the methodological possibilities that their challenging worldviews open for the interpretation of literature. At the same time, we’ll appreciate that Blake, Shelley, Wordsworth, and Austen are also critical thinkers: indeed, perhaps their poetic and fictional texts anticipate the methodological and historical provocations offered by Marx and the rest.As we gain facility with some of the dominant methodological strands of literary analysis, we’ll think about their historical roots in the Romantic era and ponder the still urgent critical possibilities they open for us today. Teaching Met hod: Seminar. Evaluation Method: TBA FQ Section 22: Contact Wendy Roberts TTh 3:30-4:50 Course Description: European contact with the â€Å"new world† initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it means to be American can be said to egin in the first encounter with the other. It is often noted that the physical senses were central to this narrative in which textuality became linked to modernity and orality to the primitive. In many ways, the rich metaphor of â€Å"contact† is helpful for thinking about literary methodologies, which often attempt to make strange, at the same time that they attempt to understand, a given text. This course will introduce English majors to some of the key terms and issues in textual interpretation through reading American literature pertaining to contact, broadly conceived.Whether coming face to face with the savage Indian in the wilderness, or conversely, a white ghost, experiencing a supernatural event, or stepping onto American soil after surviving the Middle Passage, the texts we read will offer compelling narratives of rupture, displacement, and recreation helping us to reflect on the various methodologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the definition of literature, our status as readers, and the way our encounter, contact, or discovery of a given text becomes literarily, culturally, and personally meaningful.Teaching Method: Discussion. 15 Evaluation Method: Participation, attendance, shorter writing assignments, group blog project, and one revised paper. Texts include: Mostly fiction and poetry, including some of the following: contact narratives by Christopher Columbus and Alvar Nunez Cabeza de Vaca, selection of Native American tales and songs, including contemporary poet Leslie Marmon Silko, Mary Rowlandson’s captivity narrative, John Marra nt’s conversion narrative, Phillis Wheatley’s poetry, Charles Brockden Brown’s novel Wieland, and Walt Whitman’s Leaves of Grass.WQ Section 20: Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 9:30-10:50 Course Description: Edgar Allan Poe invented the short story, the detective story, the science fiction story, and modern poetic theory. His stories and essays anticipate the Freudian unconscious and various forms of psychoanalytic, poststructuralist, and modern critical theory. Poe wrote a spooky novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many popular nineteenth- century American magazines, he wrote sketches, reviews, essays, angelic dialogues, polemics, and hoaxes. This course will focus on Poe's writings as a means of learning how to read and analyze a variety of literary genres, including lyric and narrative poems, the novel, the short story, detective fiction, s cience fiction, the essay, the literary review, and critical theory.We shall study poetic language, image, meter, and form as well as various story- telling techniques such as narrative point of view, plot, structure, language, character, repetition and recurrence, and implied audience. We shall also study a variety of critical approaches to reading and interpreting Poe’s writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and criticism.We shall conclude by looking at the ways Poe's works have been translated and adapted in a selection of contemporary films and other pop cultural forms. Teaching Method: Some lecture; mostly close- reading and discussion. Evaluation Method: 2 short essays (3-4 pages); and one longer essay (8-10 pages); in-class participation. Texts Include: Edgar Allan Poe: Poetry, Tales, and Selected Essays (Library of America); M. H. Abrams and Geoffrey Galt Harpham: A Glossary of Literary Terms (Thomson, 8thEdition); Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology (Blackwell, rev. ed. ). WQ Section 21: Songs and Sonnets Susie Phillips TTh 11-12:20 Course Description: Beginning with the sonnet craze in the late sixteenth century, this course will explore the relationship between poetry and popular culture, investigating the ways in which poets draw on the latest trends in popular and literary culture and, in turn, the ways in which that culture incorporates and transforms poetry—on the stage, in music, and on the screen.We will consider how poets borrow from and respond to one another, experimenting with traditional forms and familiar themes to make the old new. In order to recognize and interpret this experimentation, we will first study those traditional forms, learning to read and interpret poetry. While we will be reading a range of poems in modern editions, we will be situating them in their social, historical, lite rary and material contexts, analyzing the ways in which these contexts shape our interpretation.How for example might our reading of a poem change if we encountered it scribbled in the margins of a legal notebook or posted as an advertisement on the El rather than as part of an authoritative anthology? Teaching Method: Discussion. Evaluation Method: Two papers, short assignments, and class participation. Texts Include: Poetry by Shakespeare, Donne, Marlowe, Sidney, Spenser, Keats, Shelley, Williams, Stevens, and Eliot. WQ Section 22: Representing the Prostitute in Early Modern EnglandCarissa Harris TTh 2-3:20 Course Description: The London stage was continually populated by actors playing prostitutes, from the morality dramas of the 16th century to early 17th-century plays in which the prostitute takes 16 center stage, such as The Dutch Courtesan and The Honest Whore Part 1 and 2. Why was the figure of the prostitute particularly important to early modern English writers, and what did staging the prostitute mean for both authors and audiences?In this course we will explore how early modern English writers used the character of the prostitute to embody a variety of popular anxieties concerning female sexuality, social disorder, the continual influx of foreigners to London, the rapid spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, seeking to identify what precisely representing the prostitute on stage accomplished for both authors and audiences in early modern London.We will also investigate the roles the prostitute performs in particular genres, including satirical love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeare’s comedy Measure for Measure, Thomas Dekker’s plays The Honest Whore Part 1 and 2, Thomas Nash’s poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marstonâ€℠¢s plays The Insatiate Countess (unfinished) and The Dutch Courtesan (selections). Teaching Method: Seminar. Evaluation Method: 2 short close-reading papers (3- 4 pp. , an in-class presentation with an accompanying paper (2 pp. ), and a final paper (5-7 pp. ). Texts include: Shakespeare, Measure for Measure (Arden Shakespeare edition); and a course reader Textbooks will be available at: Quartet Copies. SQ Section 20: Modern Poetry & Poetics: Experiments in Reading Harris Feinsod MWF 2-2:50 Course Description: This course offers an introduction to key texts and major paradigms for the reading and interpretation of modern poetry in English. The first half of the course contends with questions at the heart of the discipline of poetics: what is poetry?Is it of any use? How do poems employ figures, rhythms, sounds, and images to address problems of experience and society? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to t hinking? We will read â€Å"experimentally,† pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with theoretical statements of poetics by Paz, Jakobson, Agamben, Stewart, Frye and others. This will allow us to gain fluency with poetic forms and genres, and to practice the fundamentals of close reading.In the second half of the course our attention will shift from individual poems to a series of scandalously inventive collections and sequences (including Williams, Brooks, Oppen, Ginsberg, O'Hara, or others). We will learn to shuttle with agility between the observations of minute formal elements and larger historical, performative, and transnational logics. We will continue to experiment widely and self-consciously with practices of close reading, but we will also flirt with alternatives such as â€Å"close listening† and â€Å"wild reading. We will move between an understanding of a â€Å"text† and its social â€Å"context,† between iterative â€Å"forms† and unrepeatable â€Å"performances,† between discrete â€Å"works† and the wider â€Å"networks† of poems to which they belong. At the conclusion of the course, we will begin to speculate about the future of poetry and poetics in the new media environment of the 21st century. Teaching Method: Lecture and discussion. Evaluation Method: frequent short writing assignments, one ~10 page paper, one in-class presentation. Careful preparation and participation is crucial.Texts include: Individual poems and collections by Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound, Eliot, Williams, Bishop, Ginsberg, and others; criticism by Agamben, Adorno, Culler, de Man, Frye, Greene, Jakobson, Ramazani et. al. ; Brogan, The New Princeton Handbook of Poetic Terms. This list is subject to change, contact me for the syllabus during enrollment. Texts available at: Beck’s Bookstore SQ Section 21: Adapt ation John Alba Cutler TTh 11-12:20 Course Description: This seminar will examine literary adaptation as a way to approach questions of reading, interpretation, genre, and literary culture.Literary works have much to teach us about the act of reading itself, especially when those works adapt some other source material and in the process 17 interpret it. The process of adaptation into poetry or fiction foregrounds how literary texts make meaning. Adaptation will thus provide us a framework for studying basic concepts from poetics, including meter, rhyme, and form, as well as from narratology, including point of view, characterization, plot, and narrative temporality. We will consider literary adaptation from a variety of perspectives: what choices do writers make when creating a work of fiction from historical records?Or a play from a poem? How have poets from the Early Modern period to the present used sources as various as the Bible and visual art as inspiration? What do all of th ese adaptations teach us about how literature compares to other forms of cultural production? The seminar will end by considering what happens when a canonical work of American literature, F. Scott Fitzgerald’s The Great Gatsby, becomes the subject of adaptation and re-adaptation. Teaching Method: Discussion Evaluation Method: Quizzes, short essays. Texts include: Poems by John Milton, W. H.Auden, Langston Hughes, and Frank O’Hara; â€Å"Benito Cereno,† by Herman Melville; A Raisin in the Sun, by Lorraine Hansberry; and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22: Many Faces of Gothic Fiction Sarah Lahey TTh 3:30-4:50 Course Description: The Turn of the Screw has famously been interpreted as both a ghost story and a psychological drama. Some claim it is a novella about supernatural events, and others argue it revolves around a crazy governess suffering hallucinations. As a genre, gothic literature inspires an unusually diverse range of critical reacti ons.Yet, how many ways can we accurately read the same story? What prompts one form of criticism over another? What are the stakes of choosing to read a story in a particular way? These questions will drive our discussion as we examine classic works of gothic fiction in the British tradition from the 18th and 19th centuries. We also will pair each primary text with an excerpt of literary theory or criticism. Our aim is to understand the practice of literary criticism, while at the same time enjoying the thrills – and horrors – of gothicism’s most famous creations.Teaching Method: Discussion Evaluation Method: In-class presentation, two short papers (4-5 pages), and one longer paper (6-8 pages). Texts include: The Castle of Otranto (1764); Confessions of a Justified Sinner (1824); Strange Case of Dr. Jekyll and Mr. Hyde (1886); Dracula (1897); and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-12:20 Fall Quarter Cours e Description: Have you ever noticed that, unlike many other languages, English often has two different names for the same animal?These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered England and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the Conqueror and cows and pigs and sheep became beef and pork and mutton – at least when they were served up to the Normans at their banquets. Like many other high-falutin’ words in English, these names for different kinds of meat all derive from French.As long as the animals remained in the barnyard, however, being cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will investigate this and many other milestones in the history of the English language, focusing on the period from the Middle Ages through the eight eenth century. We will pay particular attention to the relationship between language and power, and to the ways people in these periods conceived of their own language(s) in relation to others.This class will also help you to develop a more sensitive understanding of the English language that you can bring to other classes and to life in general. Have you ever thought about analyzing a poem – or a political speech – in terms of which words come from Latin, which from French, and which from Old English? Teaching Method: Mostly discussion, with some lecture. Evaluation Method: Quizzes, a midterm exam, and a final exam, plus a couple of short papers and an oral report. Texts Include: David Crystal, The Stories of English; a course reader. 18Texts available at: Beck’s Bookstore and Quartet Copies NOTE: This course fulfills the English Literature major Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing: Theory and Practice of Poetry Translation Reg Gibbons MW 2-3:20 Spring Quarter Course Description: A combination of seminar and workshop. Together we will translate several short poems and study theoretical approaches to literary translation and practical accounts by literary translators. We will approach language, poems, poetics, culture and theoretical issues and problems in relation to each other.Your written work will be due in different forms during the course. In your final portfolio, you will present revised versions of your translations and a research paper on translation.. Prerequisite: A reading knowledge of a second language, and experience reading literature in that language. If you are uncertain about your qualifications, please e-mail the instructor at to describe them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method: Discussion; group critique of draft translations; oral presentations by students.Evaluation Method: Written work (â€Å" blackboard† responses to reading, draft translations, revised translations, and final papers) as well as class participation should demonstrate students’ growing understanding of translation as a practice and as a way of reading poetry and engaging with larger theoretical ideas about literature. Texts include: Essays on translation by a number of critics, scholars and translators, in two published volumes and on the Course Management web site (â€Å"blackboard†). ENG 307 CROSS-GENRE Advanced Creative Writing: Finding a Place Goldie Goldbloom TTh 12:30-1:50 Fall QuarterCourse Description: Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what remains with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The Lord of the Rings be like without Middle Earth, Charlotte's Web without the farmyard, To Kill a Mockingbird without Maycomb, Alabama? We wi ll be examining setting in our own work and in the work of published writers, to determine what it adds to the dreamscape of a story, and how it can be manipulated to express hidden emotion.This is a workshop class, and you will be expected to bring in your own writing for analysis and critique. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. This course may be used toward the inter-disciplinary minor in creative writing. Texts include: The Street of Crocodiles, Bruno Schulz, 978-0-14018625-5; Nadirs, Herta Muller, 978-0-80328254-4; Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2; Being Dead, Jim Crace, 978-0-31227542-6; The Woman in the Dunes, Kobo Abe, 978-0-67973378-2; Bastard Out of Carolina, Dorothy Alison; Lord of the Rings, J.R. R. Tolkein ENG 307 Advanced Creative Writing: Fabulous Fiction Stuart Dybek TTh 12:30-1:50 FICTION Winter Quarter Course Description: Fabulous Fictions is a writing class that focuses on writ ing that departs from realism. Often the subject matter of such writing explores states of mind that are referred to as non- ordinary reality. A wide variety of genres and subgenres fall under this heading: fabulism, myth, fairy tales, fantasy, science fiction, speculative fiction, horror, the grotesque, the supernatural, surrealism, etc.Obviously, in a mere quarter we could not hope to study each of these categories in the kind of detail that might be found in a literature class. The aim in 307 is to discern and employ writing techniques that overarch these various genres, to study the subject through doing—by writing your own fabulist stories. We will be read examples of ? 19 fabulism as writers read: to understand how these fictions are made—studying them from the inside out, so to speak. Many of these genres overlap. For instance they are all rooted in the tale, a kind of story that goes back to primitive sources.They all speculate: they ask the question What If? T hey all are stories that demand invention, which, along with the word transformation, will be the key terms in the course. The invention might be a monster, a method of time travel, an alien world, etc. but with rare exception the story will demand an invention and that invention will often also be the central image of the story. So, in discussing how these stories work we will also be learning some of the most basic, primitive moves in storytelling.To get you going I will be bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrances—your rabbit holes and magic doorways–into the figurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. Besides the exercises, two full-length stories will be required, as well as written critiques of one another’s work. Because we all serve to make up an audience for the writer, attendance is mandatory . Prerequisites: Prerequisite English 206.No P/N registration. Attendance at first class is mandatory. addition to our readings and discussions of published fiction, we will spend time workshopping your own stories. Dependent on time, each student will have their creative prose workshopped twice. ENG 307 CROSS-GENRE Advanced Creative Writing: Cross-Genre Experiments Mary Kinzie TTh 2-3:20 Spring Quarter Course Description: A creative writing course for any undergraduate who has taken at least two of the Reading & Writing prerequisites (poetry and one prose course).We will explore the blending of prose with poetry in genres such as the â€Å"lyric essay† as well as the insertions of prose into works by poets; the blending of narrative with visual art (as in Donald Evans’s series of stamps