The following material clarifies the course offerings, with the exception of English 097, 098, 155, and 305. The descriptions have been written by individual full-time instructors and should help students in making their selections. Students wishing further information regarding courses in the department should consult the assigned instructor or Department Chair.

61095 TTh 12:30 208 CREATIVE WRITING Wedin

Prerequisite: Completion of the lower division writing requirement. The first half of the semester will focus on an introduction to the techniques of poetry, drama, and short fiction, and to the applicable terminology. During this time students will practice writing in the various modes. The second half of the semester will consist of workshop sessions during which the students will discuss their work. A set amount of either poetry, drama, or fiction will be required. Course is part of the Writing Option in English and satisfies the G.E. Fine Arts requirement.

61096 MWF 10:00 208 CREATIVE WRITING Mitchell

This course will provide the student with the opportunity to explore--as a creative writer--the genres of drama, fiction, and poetry. The course will require in-class writing exercises, in-class discussion and reading of student work, and--of course--a great deal of out-of-class imaginative writing. Additionally, we will read some short, published writings in each genre and, when appropriate, view video performances. Students will regularly complete assignments, and at the end of the semester, each student will submit a substantial portfolio of his or her best work.

61097 MWF 1:00 208 CREATIVE WRITING Mitchell

See description above.

61099 MWF 10:00 255 INTRODUCTION TO LITERATURE Johnstone

GENERAL EDUCATION: If your major is NOT English, this course fulfills area C.1, Literature, providing three of the nine units of General Education required in the Humanities, Section C. General Education features of this course: practice in close careful reading, analytical thinking, and critical writing about literature that involves a wide variety of human experience past, present and future. The course extends factual knowledge touching on many fields, e.g. history, social history, psychology, religion, mythology, biology and music.

AIMS: The course will mingle poetry, drama and short fiction, switching from one genre to another at flexible intervals. In the close reading of very varied literary texts, two general goals are a) to increase your grasp of thematic patterning and structure, and b) to enhance your sensitivity to verbal nuances and connotations. The course will cover some basic literary modes, conventions, and techniques; it will also give some practice in interpretation, in critical analysis. Above all, the course should widen the range of literature that you appreciate and enjoy.

METHOD: Lecture and discussion.

CONTENT: At least two plays, five or six short stories, and a broad variety of poems.

TEXTS: Sound and Sense, ed. Perrine; HBJ, 8th edition; To Read Literature, ed. Donald Hall, Holt, Rinehart and Winston; A View From the Bridge, Arthur Miller, Penguin; other materials from the campus Printshop or QuickCopies.

EVALUATION: Primarily based on a midterm and a cumulative final exam, both with lots of alternative essay questions. I use letter grades, which may be plus/minus. In addition to the two essay exams you will write at home one or two short papers. Expect a few quizzes on assigned reading. What decides your course grade? In descending order: 1) the final exam; 2) the midterm exam; 3) work written at home; 4) the quantity and quality of your oral participation during the semester; and 5) possibly, quizzes. Since class participation (or lack of it) may affect the course grade, regular attendance is important.

WARNING: Plagiarism--the excessive and/or unacknowledged use of someone else's ideas or expression--carries a heavy penalty, as does any other form of intellectual cheating. Depending on the nature and extent of the cheating, penalties range from failing part of an exam to failing the course.

61100 MWF 9:00 255 INTRODUCTION TO LITERATURE Spector

Prerequisite: Completion of the lower-division writing requirement (Freshman Composition or equivalent). This course provides an introduction to poetry, fiction, and drama through reading, discussing, and writing about works chosen from the assigned anthology. You will find the readings amusing, boring, delightful, moving, outrageous, and puzzling. The quality of discussions will depend on your willingness to express your opinions and my ability to help you articulate them clearly to the rest of the class. The writing assignments (three short essays, a midterm, and a final exam) will let you demonstrate how much you have learned about literature. Caution: Do not sign up for this section if regular attendance is not part of your plan. Available for General Education credit in section C-1 (Literature).

61535 W 4:20 255 INTRODUCTION TO LITERATURE Watkins

No description submitted.

61104 MW 2:00 258 MAJOR ENGLISH WRITERS I Kleinman

The course surveys English literature from the Anglo-Saxon period to the middle of the eighteenth century, encompassing a number of major writers and important genres, and important themes. The literature we will study strongly influenced modern writers (and even film-makers) up to the present day, and so your knowledge of early British literature will contribute substantially to your understanding of writers of the later periods. But, more importantly, early literature is fascinating and delightful in its own right, displaying wit, sophistication, and invention which people today continue to find compelling.

61105 TTh 11:00 258 MAJOR ENGLISH WRITERS I Gregory

Contrary to the printed Schedule of Classes, Professor Gregory will not be teaching this course this semester.

61512 M 7:00 258 MAJOR ENGLISH WRITERS I Gregory

Contrary to the printed Schedule of Classes, Professor Gregory will not be teaching this course this semester.

61106 MWF 11:00 259 MAJOR ENGLISH WRITERS II Chatterjee

This course introduces students to the major English writers from the British Romantic Era, the Victorian Age, and the Twentieth Century. We will study the writers in their historical contexts, paying close attention to the various literary movements. Critical writing is required. Course requirements include a few short assignments or quizzes (10%), midterm exam (20%), one essay (30%), and a final comprehensive take-home exam (40%).

61107 TTh 9:30 259 MAJOR ENGLISH WRITERS II Chianese

No description submitted.

61513 W 7:00 259 MAJOR ENGLISH WRITERS II Athey

No description submitted.

61108 TTh 11:00 275 MAJOR AMERICAN WRITERS Andrews

This is a survey of American literature from the colonial period to the present. Through poetry, prose, fiction, and drama, the course introduces students to the range of voices that have filled the continent -- American Indian, European, African, and Asian. Through our readings we will trace major themes in American culture through various time periods - nature, family, history, religion, race, class, gender. We will focus on articulating our personal responses to the things we read, and we also will try to understand the readings within their own historical and cultural contexts. The course grade will be based on three exams and three short papers.

61109 TTh 2:00 275 MAJOR AMERICAN WRITERS Andrews

See description above.

61110 TTh 9:30 275 MAJOR AMERICAN WRITERS Stanley

In Democratic Vistas, Walt Whitman envisions an American literature in which the poet would sing of "a simple, separate person," yet also "utter the word Democratic, the word En-Masse." A century later, Susan Sontag would write, "What we have left of Whitman's discredited dream of cultural revolution are paper ghosts and a sharp-eyed witty program of despair." For both these writers "America" represents not only a place, but an imaginative act. In this course we will examine how writers from Tocqueville to Toni Morrison have attempted to define the individual's place in an American culture, and, in so doing, we will examine the "America" they invent. We not only will read major American writers such as Hawthorne, Whitman, Chopin, Faulkner, Fitzgerald, Erdrich, and Wilson, but will also ask why we might consider these authors "major." Grades will be based upon two papers, two exams, and class participation.

61111 MWF 1:00 275 MAJOR AMERICAN WRITERS Uba

This course is a lower-division survey of American writers from pre-colonial to present times. It will emphasize the range and diversity of American literature rather than focus exclusively on a few canonized writers. Students will be introduced to elements of contemporary critical theory. Lecture and discussion. Grades will be based primarily on a series of essay assignments and a final exam, and secondarily on pop quizzes and class participation. Regular class attendance required.

61515 W 7:00 275 MAJOR AMERICAN WRITERS Wedin

A lecture/discussion class reading selected American writers such as Emerson, Poe, Twain, James, and Hemingway. Two midterms and a final exam.

61517 M 7:00 300 CONTEMPORARY LITERATURE Reid

No description submitted.

61518 Th 4:20 300 CONTEMPORARY LITERATURE Reid

No description submitted.

61113 MWF 10:00 301 LANGUAGE AND LINGUISTICS McClave

A whirlwind tour of the study of human language. Feast on sounds and then tour the building of words in the world's languages. Explore the mind's patterning of words into groups and then navigate theories of meaning. Get a close view of how context can change meaning as part of a conversation cruise. The trip concludes with a celebration of gender and ethnic dialects of English and language acquisition fireworks.

Included in the tour package: 2 tests, 1 final, short written assignments

What to pack: A sense of humor.

61591 Th 4:20 301 LANGUAGE AND LINGUISTICS McClave

See description above.

61114 TTh 11:00 302 INTRODUCTION TO MODERN GRAMMAR Field

Each of us acquires the patterns and "rules" of our native languages unconsciously as children, with no teacher, no textbooks, and with little effort. It seems completely natural and automatic to think and speak (or sign) in them, yet we seldom remember the acquisition process. This is undoubtedly why it is so difficult to discuss exactly what it is we know when we know a language. One goal of English 302 is, therefore, to bring this typically unconscious knowledge of language into conscious awareness by applying the principles and insights of contemporary linguistics to the exploration of English grammar and usage.

61115 TTh 2:00 302 INTRODUCTION TO MODERN GRAMMAR Field

See description above.

61116 TTh 11:00 302 INTRODUCTION TO MODERN GRAMMAR Kroll

We will consider how the field of linguistics approaches the study of language and what it means to "know" one's native language. We will analyze the basic linguistic properties of English through an investigation of a variety of authentic and hypothetical language data. The course will cover not only how to describe language but also look into how to present such descriptions in a variety of classroom situations. Requirements include group work in class, four homework assignments, and three exams.

61117 TTh 2:00 302 INTRODUCTION TO MODERN GRAMMAR Klein

A course not only for students planning to teach language arts or English, but also for any students interested in bridging the chasm between language "shibboleths" (Is it all right to write `alright?' Is a preposition something not to end a sentence with? Do two negatives really make a positive? or Should I really avoid passives--and what are they, exactly?) and language " savvy" (What exactly is a clause? How many vowels does English have? How can we really tell if something is a noun or a verb? or Why is it ok to talk in fragments, but generally not acceptable to use them in college essays?) Students in this course will be required to keep a language journal with weekly entries, to complete assigned exercises, and to perform successfully on scheduled examinations. Final grades will reflect all such work.

61118 MWF 11:00 302 INTRODUCTION TO MODERN GRAMMAR McClave

Ever had the urge to say ain't at a formal dinner? Puzzled why many kids nowadays say ax instead of ask? Do you have nightmlares about relatives (clauses)? Suffering from general grammar angst? Then this is the course for you! Lose your linguistic inhibitions and enjoy nouns, verbs, adjectives, and adverbs again with abandon!

Course requirements: A sense of humor, two major exams, quizzes, and a project.

61119 MW 2:00 302 INTRODUCTION TO MODERN GRAMMAR McClave

See description above.

61120 MWF 10:00 302 INTRODUCTION TO MODERN GRAMMAR Kleinman

If you speak English, why is it still hard to learn "grammar"? In this course we will examine grammar as more than just a set of rules which you have to memorize to produce acceptable speech and writing. We will survey the ways in which sound and structure work to produce meaning in Standard English, as well as some non-standard grammatical systems. Using insights from linguistic theory to arrive at a more sophisticated notion of grammar, we will discuss the implications of this understanding for English usage and pedagogy.

61521 T 7:00 302 INTRODUCTION TO MODERN GRAMMAR Bartelt

No description submitted.

61522 W 4:20 302 INTRODUCTION TO MODERN GRAMMAR Kleinman

See description for 61120.

61557 Th 4:20 302 INTRODUCTION TO MODERN GRAMMAR Kroll

See description for 61116.

61558 Th 7:00 302 INTRODUCTION TO MODERN GRAMMAR Noguchi

A course that focuses on the most useful aspects of traditional, structural, and generative-transformational approaches to grammar. The course will examine the nature of grammar and grammatical study and offer some pedagogical applications to the teaching of English and the language arts.

61559 W 7:00 302 INTRODUCTION TO MODERN GRAMMAR Noguchi

See description above.

61125 TTh 9:30 305 INTERMEDIATE EXPOSITORY WRITING Behr

This course assumes that students already have proficient expository writing skills and are familiar with the process of planning, composing, and revising academic essays, as well as with how to cite and document sources. Working both individually and in groups, students will be writing about cultural diversity within the framework of their academic disciplines. Learning to better analyze and utilize commonly used rhetorical/argumentative modes will be the main focus of the course. As students reflect on this process, they can expect to develop enhanced skills as critical readers and become more self-aware writers. The course will provide preparation for the Writing Proficiency Exam (WPE) and fulfills the requirement for the Liberal Studies majors.

61154 TTh 2:00 305 INTERMEDIATE EXPOSITORY WRITING Gross

No description submitted.

61155 TTh 2:00 306CMP REPORT WRITING Athey

No description submitted.

61129 TTh 12:30 308 NARRATIVE WRITING Lopez

This course will provide the fiction writer with an intensive opportunity to look at his/her work in progress as well as the work of other writers. The course is a workshop. Therefore, each student will be responsible for two presentations of creative work. In addition, students will mark extensively on peers' manuscripts and write a critique on each student story. We will use short story collections as models. Evaluation based on creative work, criticism and participation.

61156 MW 2:00 308 NARRATIVE WRITING Haake

English 308 in an intermediate, exercise-based class in the theory and practice of narrative prose. Students will complete weekly reading and writing assignments, and write one short story. Class will consist of intensive work in small groups, whole class workshop, and some lecture. Additional assignments will include written peer critiques, self-assessment, oral presentation, and mid-term exam. Portfolio grading.

61529 Th 4:20 308 NARRATIVE WRITING Lopez

See description for 61129.

61530 T 4:20 309 VERSE WRITING Barresi

This is a workshop-based class designed to help the student poet become his or her own "best editor." Course work will include intensive reading and writing of poetry, as well as oral and written reports in the genre. Each student will produce a portfolio of revised "publishable" poems by semester's end.

61567 M 4:20 310 PLAYWRITING Mitchell

This course will enable the student to explore the unique challenges of writing for performance. In addition to reading a few performance texts, discussing dramatic structure, viewing performances, and examining some basic aspects of acting and directing (with which the playwright should be familiar), the student will complete various writing exercises. The course will also include limited discussion of writing for solo performance (including stand-up comedy) and, if time permits, film. "Workshopping" of student material, a central component of the course, will include peer feedback from small groups as well as from the class, which will occasionally view script-in-hand performances of student works-in-progress. Towards the end of the semester, each student will present a rehearsed performance (of approximately eight to ten minutes) of his or her work. The student will have the option of presenting a staged-reading (with actors holding and acting out scripts) in front of the general public as part of the Northridge Playwrights Workshop. (Last semester, student plays were presented at the Road Theater Company, Lankershim Arts Center in North Hollywood.) Additionally, the student will hand-in several assignments and a final portfolio, and we will try to attend at least one play.

61157 MW 2:00 311 HISTORY OF AFRO-AMERICAN WRITING Watkins

No description submitted.

61533 M 7:00 311 HISTORY OF AFRO-AMERICAN WRITING Watkins

No description submitted.

61561 Th 4:20 312 LITERATURE AND FILM Gross

A study of the interrelations of literature and film, with the interpretative methods common to both. Subjects include the analysis of narrative structure, genre, style, point of view, character, auteur, mise-en-scene, historical and social issues. Examples will be drawn from film genres such as gangster, western, war, melodrama, comedy, satire, farce.

61159 MWF 1:00 313 POPULAR CULTURE Solomon

Studies in Popular Culture is a new course that carries credit as an elective for English majors and Section E credit for General Education. Designed especially for students who may want to enter the fields of entertainment or advertising, or for future teachers who may want to use popular culture in their classrooms, this course will survey the products of American popular culture as signs of larger cultural forces and realities. Employing a semiotic methodology, students will interpret such popular cultural subjects as the movies, television, and advertising, as well as the galaxy of products Americans commonly consume. The textbooks for the class will include Roland Barthes' Mythologies and Jack Solomon's and Sonia Maasik's Signs of Life in the USA. Students will deliver an in-class presentation on a popular cultural topic of their choice and write two papers.

61130 TTh 9:30 314 NORTH AMERICAN INDIAN LITERATURE Andrews

This course introduces students to a wide range of themes and genres within American Indian literature: the oral tradition and tribal stories of creation, tricksters, and heroes; biographies of witnesses to the conflicts between Euro-Americans and American Indians; and poetry and fiction by Indians living in the 20th century. Among the modern authors covered will be Leslie Marmon Silko, Louise Erdrich, and Sherman Alexie. American Indian literature is often times challenging because it presents a perspective - on nature, on human relations, on American history, on a sense of the sacred - radically different from mainstream America's. As we seek to understand what we read in class, we will explore our own perspectives and beliefs. The course grade will be based on two exams and two critical papers.

61131 TTh 9:30 316 SHAKESPEARE Gregory

In this course you will learn to read Shakespeare with understanding and delight. We will read seven plays: two comedies, two histories, two tragedies and The Tempest. We will cover topics including Shakespeare's verse, Shakespeare's genres, Shakespeare on film, the transvestite stage, and the editing of Shakespearean play-texts for modern readers. The greatest part of our energies, however, will be devoted to the close study of Shakespeare's rich, dense and surprising poetic language. Through such study you will not only learn to enjoy Shakespeare; you will also expand your vocabulary, improve your close reading skills, gain practice in reading poetry aloud, and develop a sense of what the English language was like four hundred years ago. Requirements: two critical essays, midterm and final exams. Text: The Complete Works of Shakespeare, ed. David Bevington, Fourth Edition.

61132 TTh 2:00 316 SHAKESPEARE Gregory

See description above.

61158 MW 2:00 316 SHAKESPEARE Reid

No description submitted.

61562 W 7:00 316 SHAKESPEARE Larson

This course will cover a cross-section of Shakespeare's plays representing the dramatic genres of tragedy, comedy, and history as well as selected poetic works. The course will view Shakespeare's works as literature with an emphasis upon the plays as dramatic performances. Attendance of locally produced Shakespearean plays will be arranged. Critical writing required.

61133 MWF 10:00 355 WRITING ABOUT LITERATURE Spector

Prerequisites: completion of the lower-division writing requirement (Freshman Composition) and two lower-division English courses. This class will introduce English majors to various ways of writing about literature in the university. The required texts include the MLA Handbook for Writers of Research Papers (5th ed.) ed. by Joseph Gibaldi, A Short Guide to Writing About Literature by Sylvan Barnet, and Writing with Style: Conversations on the Art of Writing (2^nd ed.) by John R. Trimble. You should also plan to buy both a glossary of literary terms and a good dictionary if you don't already own one of each. As the catalog notes, the emphasis of the course will be on writing about poetry, prose fiction, and drama. To that end, you will write several short essays (some in class, some out of class) and complete a research paper (2500 words). Peer review exercises are a required part of the course.

61134 TTh 11:00 355 WRITING ABOUT LITERATURE Athey

No description submitted.

61152 MWF 1:00 355 WRITING ABOUT LITERATURE Watkins

No description submitted.

61160 MW 2:00 355 WRITING ABOUT LITERATURE Uba

This course is designed to enhance the critical writing skills of English majors and to prepare them for upper-division literature courses. Students will read and assess works from the traditional genres of fiction, poetry, and drama, with a special emphasis on American literature. I will introduce elements of contemporary critical theory but at the same time maintain a focus on the basics of effective analytical writing, including thesis ideas, paragraph logic and structure, the use of textual evidence, overall organizational strategies, word choice, and sentence variety and usage. Grades will be based primarily on a series of critical essays and a final exam, and secondarily on pop quizzes and class participation. Regular class attendance required.

61900 W 7:00 355 WRITING ABOUT LITERATURE Chianese

No description submitted. Held at the Channel Islands campus.

61136 MWF 11:00 364 THE SHORT STORY Kessler

In this upper division class, we will begin with a brief overview of the elements of short fiction and move immediately into a study of early classic American short stories. The remainder of the course will be devoted to the study of modern British and American short stories, women as seen through literature, and multicultural selections. All students will be required to make an oral presentation over a theoretical approach to a given work. Requirements include regular attendance, class participation, two major essays, position papers, an oral report and two exams.

Grading procedures: Position papers (one page each): 10%; oral report: 10%; midterm exam: 20%; research project: 20%; two essays (two 750-word essays): 20%; final exam: 20%.

Required texts: Charters, Ann, The Story and Its Writer, Fifth Edition; Gilman, Charlotte Perkins, The Yellow Wallpaper, A Bedford Cultural Edition, Bedford/St. Martin's Press.

61161 MWF 8:00 364 THE SHORT STORY Kessler

See description above.

61536 T 4:20 364 THE SHORT STORY Larson

The focus of the course will be upon the analysis and appreciation of short fiction. It will cover a wide range of stories. Critical writing, oral reports, class participation, and a midterm and final will be used for student evaluation.

R TTh 11:00 364HON THE SHORT STORY Chianese

No description submitted.

61563 T 4:20 371 ISSUES IN JEWISH-AMERICAN WRITING Gross

A study of Jewish-American writers from the nineteenth and twentieth centuries, with emphasis on three major themes: assimilation, anti-Semitism, American responses to the Holocaust. Writers include: Abraham Cahan, letter writers from the Jewish Daily Forward's "A Bintel Brief," Anzia Yezierska, Hannah Arendt, Ben Hecht, Isaac Bashevis Singer, Art Spiegelman. Reports, exams, and papers required.

61177 MW 2:00 392 JUNIOR HONORS TUTORIAL I Chatterjee

"Gothic Sexualities and Romantic Subjectivities: Legacies of Anxiety"

This course will explore the rise of the gothic novel and its particular influence on British Romanticism as well as its continuing popularity in other forms today. Whether portraying transgressive sexuality or externalizing inner anxieties, the gothic novel of the later eighteenth and early nineteenth centuries had a profound impact on the narrative and poetic rendering of identity or what we may call Romantic subjectivity. We will begin with Horace Walpole's 1764 The Castle of Otranto which, arguably, inaugurated numerous literary and extra-literary gothic conventions. Other writers we will study include: Beckford, Radcliffe, Lewis, Shelley, Stevenson, Wilde, and Stoker. We will read these novels alongside gothic poems and literary and cultural theories, particularly psychoanalytic, feminist, and queer. Course requirements include a few short assignments and essays (30%), an oral presentation (20%), and a longer final research essay (50%).

61162 MWF 11:00 400 HISTORY OF THE ENGLISH LANGUAGE Kleinman

In this course we will trace the history of English pronunciation, grammar, and writing, as well as the ways in which the English language has interacted with social and literary history. We will focus on both the theoretical concepts of English historical linguistics and the practical analysis of English literary texts to explore the ways in which dialectal distinctions and notions of correctness have affected people's perceptions of themselves and of others, and continue to do so today. In studying the ways in which English and attitudes towards language have changed over time, we will learn to read older and more recent literature in a more informed way, enhancing our understanding and appreciation of English as a medium of communication and a vehicle for literary expression.

61163 TTh 9:30 405 LANGUAGE DIFFERENCES AND LANGUAGE CHANGE Field

As most students of English know, the language of Shakespeare and older versions of the Bible has changed considerably in the last few hundred years. How come? English 405 takes a serious look at this important language from its earliest days in England to ways it is used in the United States today, with special focus on varieties that are (a) regional (e.g., that spoken in the American South, Northeast, and so on) and (b) social (e.g., Ebonics and Chicano English). The course examines the many historical and social factors that shape it, all to provide a better understanding of why people talk (and sound) the way they do.

61539 M 7:00 405 LANGUAGE DIFFERENCES AND LANGUAGE CHANGE Noguchi

A study of how and why the English language has evolved from its roots in Anglo-Saxon England to its present state in the United States. Special attention will be given to the interrelationships of historical, geographical, and social dialects, particularly in the United States, to give students a better understanding and appreciation of why contemporary speakers of American English (standard and non-standard) have come to speak and write as they do. The course will include a brief review of phonetic transcriptions for those students who need it.

61541 W 7:00 405 LANGUAGE DIFFERENCES AND LANGUAGE CHANGE Bartelt

No description submitted.

61542 Th 7:00 405 LANGUAGE DIFFERENCES AND LANGUAGE CHANGE Bartelt

No description submitted.

61564 T 7:00 405 LANGUAGE DIFFERENCES AND LANGUAGE CHANGE Noguchi

See description for 61539.

61902 Th 4:20 406 ADVANCED EXPOSITORY WRITING FOR TEACHERS Bourgeois

An advanced course in writing which introduces students to current composition theory; intense practice of the writing process, application of theory to assignment design, and evaluation of the writing of secondary school students. Students will be expected to participate in collaborative writing groups, prepare a class presentation with a small group, and submit a portfolio of their written work at semester's end. Held at the Channel Islands campus.

61138 TTh 11:00 406CMP ADVANCED EXPOSITORY WRITING FOR TEACHERS Behr

English 406 is a workshop course designed to give prospective English teachers some intensive instruction in ways to write and, more importantly, ways to teach writing at the elementary, middle, and high school levels. The course will be based on the principles of "best practices in writing" that will be introduced during the first week of classes. By gaining a better understanding of their own writing practices, students will be expected to develop as writers. They will learn and employ new techniques for teaching writing in various contexts, and will be introduced to various principles that underlie writing instruction. Finally, they will be required to consider issues under national discussion in public schools and how those issues affect the ways they teach.

61164 MWF 10:00 406CMP ADVANCED EXPOSITORY WRITING FOR TEACHERS Clark, D.

This course has two complementary purposes: first it is designed to refine and enhance the composition and grammatical skills of potential teachers thorough a variety of assignments that explore critical strategies common to academic writing. We will examine and apply current composition theory in this facet of the course. Second the course will help potential educators learn how to teach their students the writing process. We will concentrate on how to evaluate student writing, and on how to teach grammar and usage. Because this course will use computers, the use of these electronic tools for teachers of expository writing will also be considered. Students will be expected to participate in peer editing groups, keep a writer's journal, prepare a group presentation, and submit a portfolio of their revised essays at the semester's end.

61165 TTh 2:00 408 ADVANCED NARRATIVE WRITING Lopez

Prerequisite: Completion of English 308 (Narrative Writing). An advanced writing workshop that will provide the serious fiction writer with an intensive opportunity to look at his/her work in progress as well as the work of other writers. Basic grasp of narrative techniques assumed; therefore, more complexity in the creation of new material encouraged. Two published short story collections studied, written criticism of peers' work, and approximately 40 pages of creative work required.

61565 W 7:00 408 ADVANCED NARRATIVE WRITING Haake

English 408 in an advanced, exercise-based class in the theory and practice of narrative prose. Students will complete weekly reading and writing assignments, and write one short story. Class will consist of intensive work in small groups, whole class workshop, and some lecture. Additional assignments will include written peer critiques, self-assessment, oral presentation, and mid-term exam. Portfolio grading.

61544 Th 4:20 409 ADVANCED VERSE WRITING Barresi

Prerequisite: English 309 or permission of instructor. A workshop built on writing and discussion of student poems and reports on the theories and works of published poets. Evaluation based on the student's final collection of poems, short papers, and in-class reports and discussion.

61139 TTh 11:00 417 SHAKESPEARE: A SURVEY Collier

A survey of 10-11 of Shakespeare's better-known plays. Our objective is to gain a thorough working knowledge of those plays which have been passed on to the 20th century and upon which much of Shakespeare's reputation has been based. Issues of dramatic production, textual transmission, historical influence, language, genre and characterization will be studied. Requirements: a 5-7 page paper, an exam and a final, perhaps an occasional in-class exercise as a surprise. Text: The Riverside Shakespeare.

61532 W 4:20 418 ENGLISH DRAMA TO 1642 Mitchell

While the course will begin with a discussion of English drama's roots in ritual and then jump ahead to English medieval theater, the course's primary focus will be on the incredibly rich drama and performance of the English Renaissance. We will examine some of the period's most intriguing plays--by writers such as Marlowe, Jonson, Middleton, and Webster--as well as the plays' cultural and performative contexts. Additionally, in an effort to understand the relevance of these once popular dramas to modern audiences, we will discuss one or two twentieth-century adaptations of English Renaissance plays. For example, after discussing Marlowe's Edward II, we may watch Derek Jarman's 1991 film version of the play and read Bertolt Brecht's adaptation. We will also try to attend one or two relevant theatrical performances in the Los Angeles area. Students will be required to complete short journal entries, take a couple of exams, and write a research paper.

61141 MWF 11:00 428 CHILDREN'S LITERATURE Clark, D.

This course is an overview of children's literature, examining its cultural history as well as its social and psychological dimensions. The course will focus on the way the idea of the child has influenced the development of children's literature, with special emphasis on how that idea and that literature have grown more complex, fragmented and more ambiguous in the present era. We will use our discussions of children's literature as a springboard to explore issues helpful to teachers in developing criteria for selecting children's texts for their own classes. We will read texts from a variety of genres, including picture books, fairy tales, fantasy, and contemporary realistic fiction (multicultural, historical and gender-sensitive texts), and will also work with "texts" in the visual media - film and CD-ROMs. This class will offer guest lecturers on a range of related topics. Students will be required to keep a reader's journal, give an oral presentation from which they will write a short research paper, and take midterm and final examinations. Texts include Where the Wild Things Are, Classic Fairy Tales, The Secret Garden, Charlotte's Web, Homecoming, Are You There God? It's Me, Margaret, Julie of the Wolves, Number the Stars, Harry Potter and the Sorcerer's Stone.

61143 TTh 11:00 428 CHILDREN'S LITERATURE Hatfield

Rationale: C. S. Lewis once suggested that "a children's story which is enjoyed only by children is a bad children's story." This remark raises one of the oldest arguments against the study of children's literature, an argument that goes something like this: "there is no such thing as children's literature, there is just literature, period." By this argument, children's stories are not "mere" children's stories if they are any good (a view that some children's authors have embraced, as if to fight typecasting).

Yet children's literature does make special claims on writers and readers. Children's stories assume a special audience, and appeal to (often shape) our visions of what childhood is. As Perry Nodelman has argued, only by coming to terms with what is special about children's literature as children's literature can we understand its unique power.

That means we have to ask ourselves what we think of when we think of childhood. How do we imagine what it means to be a child? How do we imagine the relationship between the child and the adult world, in terms of literacy, morality, innocence, experience? The history of children's literature poses, not only questions of form and artistry, but also broad questions about class, education, social mores, and, above all perhaps, the importance of "childhood" as an institution.

This course will ask such questions while skimming the history of children's literature (particularly 19^th and 20^th-century works in English). Our main foci will be on prose fiction and on the illustrated text, though we will also sample children's poetry and drama. Our talks will cover both aesthetics and politics as we examine: the shifting definition of "audience" in children's stories; the book as both object and performance; the role in children's culture of visual/verbal intermedia, e.g., picture books and comics; and the continuing adaptation of old children's books into new ones. We will discuss criteria for selecting and evaluating children's books, and consider how children's books are affected by political controversy. As we go, our readings may even challenge our assumptions about what Literature is, and why we value it.

Aims: Awareness of historical developments and enduring genres in children's literature; appreciation of seminal works; articulated standards for selecting and critiquing children's texts; greater sensitivity to word/image relationships.

Method: Discussion, lectures, in-class activities and frequent writing.

Requirements: one short essay (15%), one longer essay (25%), in-class writings (10%), a take-home midterm (10%), a team presentation (10%), team journals (20%), class participation (10%).

Possible core texts: Aardema/Dillon, Why Mosquitoes Buzz in People's Ears; Bannerman, Little Black Sambo; Carroll, Alice's Adventures in Wonderland (Broadview ed.); Creech, Walk Two Moons; Johnson, Harold and the Purple Crayon; Lester/Pinkney, Sam and the Tigers; Medley, Castle Waiting; Tatar, ed., The Classic Fairy Tales; others TBA.

Prerequisite: One lower-division course in literature.

61167 TTh 9:30 428 CHILDREN'S LITERATURE Hatfield

See description above.

61168 TTh 2:00 428 CHILDREN'S LITERATURE Stallcup

In this course, we will be developing criteria and resources for selecting and critiquing children's texts, exploring methods for engaging children with literature, and developing an understanding of the socio-political implications and controversies embedded in texts written for (or adopted by) children. Course grade based on: journal entries examining books outside the course syllabus, a presentation, a mid-term essay examination, a term paper, a final project, and class participation. Texts: Charlotte Huck's Children's Literature in the Elementary School, selected critical readings, and several illustrated books and middle school novels.

61550 W 4:20 428 CHILDREN'S LITERATURE Reid

No description submitted.

61568 T 4:20 429 LITERATURE FOR ADOLESCENTS Bourgeois

Application of critical theory to selected literary works of interest to adolescents, focusing on works from various ethnic backgrounds and genres, including novels, poetry, short stories, and public school writers. Students will submit two papers, keep a response log, prepare a class presentation as part of a small group and write a final essay exam.

61172 TTh 11:00 431 IMAGES OF WOMEN IN LITERATURE Gross

A study of the portrayals of women in literature from classical to modern times, with emphasis on nineteenth-century sexual role stereotypes. Reports, exams, and final critical paper required.

61569 W 4:20 433 WOMEN AUTHORS Chatterjee

This course will focus on the politically vexed situation of the woman writer coming to terms with expressing the complicated relationship between writing and identity. Whether grappling with issues of gender, sexuality, class, race or ethnicity, the British and American women authors we will be reading all explore the contradictions and negotiations between one's desires and the social impositions of culture. We will read poets, prose writers, playwrights, and novelists alongside relevant feminist, lesbian, and cultural theorists. Course requirements include a few short assignments and essays (40%) and a longer final research essay (60%).

61146 MW 2:00 436 MAJOR CRITICAL THEORIES Solomon

A broad survey of the genealogy and descent of literary theory. Beginning in Greece, where literary and political theory were two branches of the same tree, and ending in contemporary America, where, once again, literature and politics have been wed, our course will take us through a long parade of classical, romantic, formalistic, structural, poststructural, historicist, and feminist discourses. There will be a midterm, a final, and a critical essay.

61553 W 4:20 436 MAJOR CRITICAL THEORIES Solomon

See description above.

61171 TTh 2:00 449 THE ENGLISH RENAISSANCE Collier

A study of non-dramatic literature written in Britain in the sixteenth century. During the reign of the Tudor monarchs, England progressed from a civil-war-torn feudal nation to one of the most influential colonial powers in Europe. This process of profound social, religious, political and economic change can be detected in the influential literature produced by writers such as Wyatt, Surrey, Phillip and Mary Sidney, Elizabeth I, Marlowe, Spenser, Shakespeare, and Jonson. Grades will be based upon short daily quizzes, two exams and a critical paper.

61904 Th 7:00 449 THE ENGLISH RENAISSANCE Collier

See description above. Held at the Channel Islands campus.

61173 MWF 1:00 456 THE AGE OF ENLIGHTENMENT Johnstone

AIMS: To encourage a perceptive enjoyment of late 17th-century and 18th-century literature. I try to suggest critical approaches and questions that let one get a grip on an unfamiliar text. The emphasis thereafter is on solving specific problems of interpretation and evaluation. The course should reveal English social attitudes and literary conventions through a historical perspective. More important, the course should familiarize students with each writer's characteristic, distinctive tones of voice; with his favorite rhetorical and imagistic devices; and with his special vision of the world.

METHODS: Lectures, with some discussion. Handout sheets supplement certain lectures.

CONTENT: A fairly detailed study of major texts will emphasize poets like Dryden and Pope; prose writers like DeFoe, Swift, and Johnson; dramatists like Congreve. Where time allows, several fascinating or revealing lesser writers are worked in, e.g. Pepys, Rochester, Gay, Smart, Gray.

TEXTS: Wilson, ed., Six Restoration Plays (Riverside, H/M); Tillotson, et al, eds., Eighteenth-Century English Literature (Har.); DeFoe's novel, Moll Flanders (Riverside, or Rinehart). Also, some Xeroxed materials.

EVALUATION: Based on a midterm exam and a final cumulative exam. A number of exam options are offered; all questions are essay questions. Grades may be plus/minus. Absenteeism will lower the course grade.

WARNING: Plagiarism--the excessive and/or unacknowledged use of someone else's ideas or expression--carries a heavy penalty, as does any other form of intellectual cheating. Depending on the nature and extent of the cheating, penalties range from failing part of an exam to failing the course.

61170 MWF 10:00 458 THE ROMANTIC AGE Chatterjee

In this course we will study the various writers, poets, and playwrights associated with the British Romantic Era (1790-1830). Through our focus on the "big six" poets (Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats) we will reconsider the thematic and aesthetic boundaries and concerns of this period. We will study these writers in their literary and historical contexts, as well as from the perspective of current critical scholarship. Course requirements include a few short assignments and essays (40%) and a longer final research essay (60%).

61554 T 7:00 460 THE VICTORIAN AGE Lane

The intention of this course is to familiarize the student with the general content of English literature (mainly poetry and prose) from 1830 to 1901. The complex interaction among the practitioners of politics, science, commerce, religion, and letters will be a factor in this study. Individual artists to be considered include, among others, Tennyson, Browning, Arnold, Hardy, Dickens, and Hopkins. The course is structured for lecture/discussion; the texts are an anthology of poetry, a prose reader, and two novels. Students are responsible for attendance, participation, a midterm test, a short paper (7-10 pages) and a final exam.

61576 W 7:00 461 MODERN BRITISH LITERATURE Lane

Starting with Hardy, Hopkins, and Yeats, this course will consider the interaction of a complex literary tradition with the problematic data of 20th-century life. Other prominent figures whose work will be discussed include Lawrence, Woolf, Owen, Joyce, Auden and Lessing. The class is lecture/discussion; students are responsible for attendance, a midterm test and a final, and a research paper of 12-15 pages.

61570 W 7:00 464 THEORIES OF POETRY Barresi

In this course we will explore the role of the poet and "the use of poetry"--to borrow T.S. Eliot's phrase. By examining a wide range of critical approaches to poetry (from Shelley to Marjorie Perloff to recent writings on the "neo-formalists" and the "language poets") the student will work toward developing his or her own notion of what makes great poetry great, enduring, important. Extensive reading of poetry and criticism. Evaluation based on examinations, papers, and class participation.

61147 MWF 9:00 473 AMERICAN LITERATURE: 1607-1860 Kessler

American Literature 1607-1860 is a three-unit course that focuses on the development of an American identity. We will explore the impact of history, religions, politics, gender, creativity, and philosophy on the individuals who helped found and shape the new nation. Beyond the text-- The Norton Anthology of American Literature I--one novel, The Coquette by Hannah Webster Foster is required reading as well as short readings in a course pack. Students will be required to write position papers in class, give an oral presentation, write one paper with references, and complete a final exam. Students should have read the material in the course pack housed in the Oviatt Library Reserve Room for Week 1 when they come to the second class meeting.

61555 T 7:00 475 AMERICAN LITERATURE: 1912-1945 Wedin

A study of the poetry and fiction from the First World War to 1945. Texts will include a poetry anthology and representative works by Fitzgerald, Hemingway, Faulkner, Frost, Eliot, and Stevens. The class will use lecture-discussion; evaluation will be based on a midterm and final exam and a short critical paper.

61903 T 7:00 476 CONTEMPORARY AMERICAN LITERATURE Chianese

Held at the Channel Islands campus.

61175 TTh 11:00 478 MAJOR AMERICAN NOVELISTS II Stanley

In this course, we will examine the modern and postmodern American novel. Reading works by such authors as Hemingway, Faulkner, Wright, Pynchon, Morrison, and Cisneros, we will address some of the following questions: How have traditional notions of ontology, human nature, human relationships, time, and language itself been transformed in these novels? What does the author's perception of the world tell us about the culture in which we live? What general hypotheses can we make about the direction the twentieth-century American novel is taking--has the contemporary novel reached a point of exhaustion or a point of renewal? In this discussion-based and reading intensive course, students will write two papers (demonstrating their ability to analyze texts and respond to critical commentaries) and take two exams.

61577 M 4:20 492 SENIOR HONORS TUTORIAL Stanley

In this discussion-based class, we will be examining several works associated with postcolonial literature--a contested label commonly used to refer to works affected by the history of one culture colonizing another. We will ask not only what happens to the minds and psyche of those who are colonized, but also what happens to those who attempt to dominate another culture. This particular focus will allow us to explore complex questions concerning the relationship of power to issues of gender, race/ethnicity, class and sexuality. We will examine a number of texts--including Forster's A Passage to India, Naipaul's Mimic Men, Cha's Dictee, and Kundera's The Unbearable Lightness of Being--as works that respond to the colonial experience. Our readings of these texts will be informed by the critical writings of such postcolonialist theorists as Homi Bhabha and Gayatri Spivak. Students will be evaluated on class participation, an oral report, two short analytic papers and a final critical essay.

61575 Th 4:20 494CE WRITING AND THE CLASSROOM EXPERIENCE Klein

A senior level course, ENGL 494TCE (The Classroom Experience) requires students to spend 45 hours during the semester in elementary, middle, and high school classrooms, observing, and occasionally participating, under the supervision of the classroom teachers. Students will also work their way through a number of readings related to multiple areas of language study and the applications of these areas in language arts and English classrooms. Reading and discussing these papers should lead students to develop their own research topics, leading to the term paper they will prepare as part of the course. The papers, (prepared incrementally during the semester), the reports of observation, class discussion of the assigned readings, and the preparation of occasional assignments will determine student grades in the course. ENGL 494TCE is available for all students, and may be used as a capstone for either the Literature or the ESL Concentrations.

61573 W 7:00 495AU SENIOR SEMINAR IN LITERATURE: AUTOBIOGRAPHY Behr

This seminar examines how societies and individuals remember the past by exploring how a "self" and the "past" are constructed as popular memory in autobiographical narratives. Students will investigate the extent to which individual memories are shaped by a nation's preferred memories of its past. To gain this understanding, they will sample a wide range of autobiography and oral history at work in American and Canadian popular memory; this will include analyzing various minority autobiographical texts written by native, African, and Japanese Americans and Canadians. There will be extensive instruction in the techniques and theory of reading autobiography and oral histories.

61574 T 4:20 495CO SENIOR SEMINAR IN LITERATURE: COMICS: FORM AND MEANING Hatfield

Rationale: Though long dismissed as an overripe offshoot of pulp fiction, or as a distorting mirror in the funhouse of Pop Culture, comic art has recently come into its own. Since the late 1980s comics have increasingly been seen as a complex and dynamic form of communication, literature and art. They represent a new horizon in critical study, for we as yet lack a handy set of tools, or a well-worn method, to deal with these fascinating visual/verbal hybrids.

Perhaps this uncertainty is a good thing; after all, comic art by its very nature seems to frustrate attempts to put it into a neat pigeonhole (narrative? visual poetry? graphic design? all of the above?). But by working to build a better toolbox for the study of comics, we can learn to see the swirling kaleidoscope of visual culture more critically, and more appreciatively. Along the way we may discover some of the most arresting and beautiful work contemporary literature has to offer.

These are the goals of "Comics: Form and Meaning," an intensive senior seminar. This will be a course like no other, one that stakes out new territory in word/image studies: We will test the distinctions between "comics" and "non-comics." We will examine (and practice using) the unique formal qualities of comic art. We will read some of the best that English-language comics have to offer, from classic early 20^th-century comic strips, through the heady underground comix of Crumb et al., to the contemporary work of such artists as Gilbert Hernandez and Debbie Drechsler. And we will root through comics history, with emphasis on the rise of American "alternative" comics since 1980.

Aims: Greater appreciation for comic art as a literary form; enhanced awareness of word/image relationships and interartistic collaboration; assessment and sharpening of students' analytical, rhetorical and research skills.

Method: Roundtable discussion, occasional lectures, and varied in-class activities.

Requirements: constant participation (20%), two papers (35% total), a creative project (25%), a glossary (10%), and a brief oral presentation (10%). No traditional exams; lots of discussion; writing every week. This course will be brimful, and will require your best attention and fiercest enthusiasm!

Core texts: Art Spiegelman, Maus; Los Bros Hernandez, excerpts from Love & Rockets (exact volume TBA); Debbie Drechsler, Daddy's Girl; Neil Gaiman et al., Sandman: Dream Country; Scott McCloud, Understanding Comics; Chris Oliveros, ed., Drawn and Quarterly 2:1; and others TBA.

Prerequisite: Senior standing; either 6 units of lower-division literature or 3 units of lower-division literature and English 355 (Writing About Literature).

61149 MW 2:00 495EV SENIOR SEMINAR IN LITERATURE: LITERARY RESPONSES TO EVIL Clark, D.

This seminar will explore how literary artists have presented and attempted to understand evil .As we work our way from the Bible to the present; our texts will range from fiction and drama to film, detective novels and science fiction. We will begin with Andrew Delbanco's The Death of Satan: How Americans Have Lost the Sense of Evil and his claim that when our culture accepted Nietzsche's oft-quoted declaration that God is dead, we also killed off Satan and a language with which to discuss evil. Using Paul Ricoeur's Symbolism of Evil, we will try to recapture such language by posing a series of questions to history: Is evil an external phenomenon (e.g. Satan) or is it as Augustine envisioned--a privation? Or is evil something born with every human soul? Is evil universal? Is it unavoidable? Can evil ever be "cured'? What can we learn about ourselves, about the conditions of modernity and the postmodern from this exploration of evil? The course will generate its own questions as part of its process, and will explore any textual avenue for possible answers. While the Book of Job, Paradise Lost and Faust speak to us about evil, so do Pulp Fiction and The Sopranos. Students will be expected to give two presentations, one based on their researched topic, and produce a 20-page research paper by semester's end. Readings will begin with the Book of Job and include a variety of literary texts, e.g. Faust, Richard III, Heart of Darkness, Portrait of a Lady, Night and readings from Milton, Blake, Byron, Hawthorne, Melville, Yeats, Dostoevsky, Annie Dillard, Hannah Arendt as well as two film texts.

61174 TTh 2:00 495GG SENIOR SEMINAR IN LITERATURE: GRAHAM GREENE Wedin

During his more active period as an agent for MI-6 (the British Secret Service) and as a journalist with MI-6 connections, Graham Greene traveled to and lived in many countries controlled by current or former colonial powers. This senior seminar, employing critical perspectives based on post-colonial theory, will carefully examine the political and post-colonial tensions in a group of Greene novels located in "foreign" and often "third-world" countries: The Third Man (post-war Vienna); The Power and the Glory (Mexico); The Heart of the Matter (Sierra Leone); The Quiet American (Vietnam); Our Man in Havana (Cuba); A Burnt-Out Case (Zaire, the former Belgian Congo); The Comedians (Haiti); and The Honorary Consul (Argentina and Paraguay). Greene's interest in the Communist Party and the Catholic Church of Rome as colonial powers will also be investigated. Evaluation for this class will be based on active class participation, oral reports, and several critical research papers.

61556 M 4:20 495VW SENIOR SEMINAR IN LITERATURE: LITERATURE OF THE VIETNAM WAR Andrews

“There it is.” That is perhaps the American soldier’s slogan for the Vietnam War. It is a phrase that points to an essential yet indescribable truth, often encountered in combat. It is a phrase that could be used to describe the war itself – its contradictory mess of private truths and public lies; its conflicting mixture of pride and self-loathing; its dance of intense joy and explosive hatred. But “there it is” was intended mostly for fellow soldiers who needed no explanation – those who hadn’t been there wouldn’t understand. In this course, we will look at ways writers (American and Vietnamese, men and women) attempted to put into words these experiences that defy words. We will read history, memoirs, journalism, fiction, and poetry – all of it excellent, challenging, and exciting. We look at the literature produced by a war that, some have said, was more about America’s war with itself than it was about a war between the North and South Vietnamese.

Since this is a senior seminar, the setting for the course will be more intimate than a regular class. Students will be expected to actively participate in and lead discussions. Outside research and in-class presentations will be required. The course will culminate in a research paper prepared in cooperation with the professor, and it will be shared with the rest of class.

61578 T 4:20 601 SEMINAR IN SCHOLARLY METHODS AND BIBLIOGRAPHY Athey

No description submitted.

61579 M 7:00 604 STUDIES IN THE ENGLISH LANGUAGE Bartelt

No description submitted.

61580 W 4:20 608 SEMINAR IN NARRATIVE WRITING Haake

English 608 is a graduate level seminar in the theory and practice of narrative prose. One important goal of the class will be to create an informed community of writers to support the individual working writer. Toward this end, students will be expected to do intensive work in reading, as well as in writing. Course assignments will include: original new writing projects, some directed writing, formal written peer critiques, oral presentation and mid-term exam. Portfolio grading.

61581 W 4:20 617 STUDIES IN SHAKESPEARE Gregory

(Instructor listed as Collier in the Schedule of Classes)

In this seminar we will read seven plays on historical subjects: the tetralogy consisting of Richard II, 1 Henry IV, 2 Henry IV, and Henry V, and the three great Roman tragedies, Julius Caesar, Antony and Cleopatra, and Coriolanus. In these plays Shakespeare shows us high politics as high drama; they feature the clashes of the proud and powerful, rebellion and civil war, suicides and assassinations, crowd-stirring rhetoric and behind-the-scenes intrigue, heroic conquest and tragic defeat. Taken together, Shakespeare's historical plays also provide an extended meditation on central political issues: Who governs, and by what right? What makes a good king? How is power gained and lost? What are the responsibilities of those who govern, and the duties of the governed? When does resistance to authority make you a traitor, and when does it make you a hero? Over the semester, we will see how Shakespeare's historical plays explore these questions with extraordinary depth, eloquence, and range of perspective. We will examine how Shakespeare employed his sources, turning historical chronicle into dramatic art. We will consider the significance of Shakespeare's historical drama at the time in which he wrote; what did it mean, for example, to write about King Richard II in the last years of Queen Elizabeth? Along the way, students will improve their understanding of early modern English, gain practice in scansion and reading aloud, learn some English and Roman history, and receive an introduction to professional Shakespeare studies. We will also discuss strategies for teaching Shakespeare effectively in secondary school, so this course will be of practical value to current and prospective teachers. Students with limited prior exposure to Shakespeare are advised to prepare for the course by reading several plays over the summer. Course requirements: critical essay, annotated bibliography, shorter assignments, oral presentation and final exam.

61585 Th 7:00 620CE SEMINAR IN INDIVIDUAL AUTHORS: CONRAD AND ELIOT Lane

No description submitted.

61584 Th 4:20 623 SEMINAR IN PROSE FICTION Kessler

The quest is a literary form that belongs to the classic tradition which authors have used to describe their heroes' search for Truth, identity, or other major ideals. While Latina/o literature does not replicate the epic qualities of the Homeric works, it does create a setting for the modern men and women of human dimensions to explore their place in their culture as well as in the dominant culture in which they live. By focusing on the added conflicts of la lucha/the struggle; la familia/the family; cultural loyalty, acculturation, and assimilation; and sexual orientation, Latina/o authors adopt the quest tradition as well as the _bildungsroman_ as natural forms for their works and modes in which their characters can grow, develop, and discover their own identity in a diverse society. This class will study the problematic issues that create the "modern condition" in the protagonists in the works by Latina/o authors and the methods the protagonists use to reconcile their cultural values and standards to those of the dominant society. For the first class meeting, please read and be prepared to discuss _Y no se lo trago la tierra/And the Earth Did Not Devour Him_, and the first two articles in the course pack in the library, Arthur Miller's "Tragedy and the Common Man" and "On Social Plays." Students will be required to read the following works in the order they are listed: _Y no se lo trago la tierra/And the Earth Did Not Devour Him_, _Pocho_, _George Washington Gomez_, _A Shroud in the Family_, _Hunger of Memory_, _Migrant Souls_, _Loving in the War Years_, _Contemporary Mexican-American Women Novelists_, _Esperanza's Box of Saints_, _In the Time of the Butterflies_,_Face of an Angel_, _Sor Juana's Second Dream_, and articles from the course pack in the library.

61588 T 4:20 630AN SEMINAR IN LITERARY PERIODS: AMERICAN WOMEN NOVELISTS OF THE 19^th CENTURY Stallcup

In "Melodramas of Beset Manhood," Nina Baym argues that some critics of American literature have tried to posit the "best" literature as "most American," and "most American" as literature that explores wilderness as a place without boundaries, where a man has the ability to achieve a new self-definition. Thus, canonical nineteenth-century texts often feature male characters who escape from civilization, and female characters who attempt to entrap men within it. However other texts from this period (including so-called "sentimental novels" not often read today) critique this paradigm while offering alternate visions of gender roles within American culture. In this course, we will examine nineteenth-century texts that wrestle with competing representations of gender, exploring how images of wandering, boundary-crossing, imprisonment, wilderness, and domesticity drive such narratives. Our discussions will also touch upon issues of religion, economics, race, and class as well as gender. Requirements: attendance, presentation, several short response papers, and a final critical essay.

61587 M 4:20 630C SEMINAR IN LITERARY PERIODS: POPULAR CULTURE Solomon

For years, the study of popular culture in the academy was relegated to Leisure Studies programs (mostly in England) and specialized institutes like the University of Birmingham's Centre for the Study of Popular Culture. But with the advent of Cultural Studies in the 1990's, popular cultural analysis has become a major research area in American literature departments. English 630C is a course designed to introduce CSUN graduate students to this new area of inquiry, focusing on the place of popular cultural interpretation in the overall context of the Cultural Studies revolution. Using Dominic Strinati's Introduction to Theories of Popular Culture and Simon During's Cultural Studies Reader as guides, we will explore the wide-ranging, and often contentious, field of cultural interpretation. Students will make a class presentation and write a 15-20 page research paper on a popular cultural topic of their choice.

61583 W 7:00 638 CRITICAL APPROACHES TO LITERATURE Hall

This is an advanced workshop in contemporary critical theory and the use of theory in interpreting a variety of texts. Students will complete a formal conference-style paper for presentation in class, a response to someone else's presentation, and a 20-25 page seminar paper, all with a strong theory base. Texts include Literary Theory (Rivkin and Ryan), Literary and Cultural Theory (Hall), History of Sexuality, An Introduction (Foucault), Giovanni's Room (Baldwin), Orlando (Woolf), Dr. Jekyll and Mr. Hyde (Stevenson), and A Raisin in the Sun (Hansberry), as well as a poetry anthology.

61582 T 7:00 652 CREATIVE WRITING STUDIES Lopez

This graduate level course is designed to acquaint the student with an overview of creative writing issues for a working writer. We will look at: writing processes; teaching pedagogies; theoretical concerns vis-à-vis craft; the writer's place within the academy; "performing" your work; publishing your work; and other pertinent aspects of creative writing studies. Basis for grade: Seminar presentation 25%, seminar paper 25%, creative work 25%, critical work 25%.

61586 T 4:20 665 THE READING-WRITING CONNECTION Kroll

No one in any field connected to literacy studies would question that there are connections between reading and writing. But precisely what are these connections? How do they contribute to our understanding of 1) subject matter (including both professional/literary and student-written texts); 2) processes (both the generating and interpreting of texts); and 3) pedagogy (namely finding ways to strengthen student interpretive skills and writing proficiency)? To address these issues, this seminar will explore reading-writing connections from both a theoretical point of view and a pedagogical point of view within a framework that will consider approaches appropriate to literary studies, composition studies, and applied linguistics. We will focus primarily on college classroom practices for both native and non-native English speaking students.

Last Update: 24 June, 2003