English

General Information

Courses numbered from 100 to 294 (introductory courses) are designed for non-majors and majors alike. With the exception of 200-level creative writing courses these courses have no prerequisites. English 295, "Critical Methods," requires prior completion of one Foundations course and another 6-credit English course. (English 295 is not open to first-year students.) Literature courses numbered 300 and above (upper-level courses) require prior completion of one Foundations course and another 6-credit English course. Intermediate courses in creative writing (200-level) require prior completion of one 6-credit English course; admission to upper-level courses in creative writing (300-level) is by portfolio submission. English 395, "Advanced Seminar," requires prior completion of English 295 and one 300-level course.

Requirements for a Major

Seventy-two credits in English, including the following:

1. Foundations: One designated 100-level course that develops skills of literary analysis and introduces the concept of genre

2. Historical Eras: 36 credits in literature courses numbered 200-395 (excluding 220 and 295) which must include:

a. Group I: 12 credits in literature before 1660

b. Group II: 12 credits in literature between 1660 and 1900

c. Group III: 12 credits in literature after 1900

3. English 295: Critical Methods

4. English 395: Advanced Seminar

5. English 400: Senior Integrative Exercise (A senior may choose one of the following):

a. Colloquium Option: A group option in which participants discuss, analyze and write about a thematically coherent list of literary works.

b. Research Essay Option: An extended essay on a topic of the student's own devising. Open only to students who have completed their Advanced Seminar by the end of fall term senior year.

c. Creative Writing Option: Creation of a work of literary art. Open only to students who have completed at least two creative writing courses (one of which must be at the 300 level) by the end of fall term senior year.

d. Project Option: Creation of an individual or group multidisciplinary project.

Of the 72 credits required to complete the major:

1. at least 6 credits must be taken in each of the following traditions:

a. British literature

b. United States literature

c. English literatures other than British and United States

2. at least 24 credits must be in courses numbered 300-395

3. up to 6 credits may be in literature other than English in the original or translation

4. up to 12 credits may be in creative writing

Double-majors considering completing the integrative exercise during the junior year will need written approval from the departmental chair.

Workshops in Writing

The Department of English offers workshop courses in the writing of fiction, poetry, and creative non-fiction for those students who wish to gain experience in writing. Students are encouraged to submit their work to college publications such as The Lens, manuscript, the Clap, and Carleton Progressive.

Writers on the Carleton faculty include poets Gregory Hewett and Susan Jaret McKinstry and novelist Gregory Blake Smith. In addition to those courses offered by regular faculty members, the department brings visiting writers to campus to read and to conduct workshops in their specialties. Visitors have included playwright Tony Kushner, memoirists Richard Rodriquez and Patricia Hampl, poets Robert Creeley, Carolyn Forche, Sharon Olds, and Andrew Hudgins, nature writers Dan O'Brien and David Rains Wallace, and fiction-writers Jane Hamilton, Ann Beattie, Maxine Hong Kingston, Marilynne Robinson, Jonis Agee, Paul Auster, and Siri Hustvedt.

English Courses

ENGL 099 Summer Writing Program Emphasizing a writing process approach, the Summer Writing Program helps high school seniors learn to compose academic papers that are similar to those they will write in college. Students read both contemporary and traditional literature from classic texts by writers such as Plato and Shakespeare to a variety of modern short stories, essays, and poems by authors such as August Wilson, Margaret Atwood, James Baldwin, Alice Walker, and Adrienne Rich. This literature then becomes the focus of their papers. Students write every day, and although occasional creative writing exercises are included, the main emphasis of the course will be on expository prose. Cannot be used for the Writing Requirement. 6 credits; S/CR/NC; Summer; Deborah Appleman

ENGL 100 American Lyric: Poetry, Pop and Rap In this course we will look at the shifting boundary between genres that share a common root in lyrical expression. From the sonnet to chart topping pop to underground rap, what it means to be American has been built from the lyric up. We will be asking many questions. How does Kendrick Lamar’s song “i” echo and update Walt Whitman’s “Song of Myself”? What happens when you mash up Beyoncé and Gwendolyn Brooks? Where do slam, spoken word, and performance poetry fit in? Your answers will come in both critical and creative writing. 6 credits; AI, WR1; Fall; Chris Martin

ENGL 100 Autobiography How do we, how should we, respond to the autobiographical writings of public figures, private citizens, academics, or movie stars? Are there common strategies employed in these acts and processes of self-mapping? Does accuracy matter to us if we happen to find these textual self-portraits appealing? We will keep questions like these in mind as we read, discuss, and write about autobiographies and memoirs by Maya Angelou, Sidney Poitier, James McBride, Barack Obama, bell hooks, and John Hope Franklin. 6 credits; AI, WR1; Fall; Kofi Owusu

ENGL 100 Drama, Film, and Society With an emphasis on critical reading, writing, and the fundamentals of college-level research, this course will develop students' knowledge, understanding, and appreciation of the relationship between drama and film and the social and cultural contexts of which they are (or were) a part and product. The course explores the various ways in which these plays and movies (which might include anything and everything from Spike Lee to Tony Kushner to Christopher Marlowe) generate meaning, with particular attention to the social, historical, and political realities that contribute to that meaning. Attending live performances in the Twin Cities will be required. 6 credits; AI, WR1; Fall; Pierre Hecker

ENGL 100 Milton, Shelley, Pullman We will read Mary Shelley's Frankenstein and Philip Pullman's His Dark Materials as responses to and radical revisions of Milton's Paradise Lost. 6 credits; AI, WR1; Fall; Constance Walker

ENGL 100 Novel, Nation, Self With an emphasis on critical reading and writing in an academic context, this course will examine how contemporary writers from a range of global locations approach the question of the writing of the self and of the nation. Reading novels from both familiar and unfamiliar cultural contexts we will examine closely our practices of reading, and the cultural expectations and assumptions that underlie them. 6 credits; AI, WR1; Fall; Arnab Chakladar

ENGL 100 Visions of the Waste Land In his great post-World War I poem, T. S. Eliot described the waste land of western civilization as "a heap of broken images." We will explore how the writers of the first half of the twentieth-century invented ways of reshaping those broken images into a new literary art that has come to be called Modernism. Writers studied will likely include Yeats, Joyce, Woolf, and Faulkner. Attention will be given to the writing of literary critical papers, and to supplying students with the foundational tools for more advanced literary study. 6 credits; AI, WR1; Fall; Gregory B Smith

ENGL 100 Writing About America and Globalization Focusing on rhetorical choices and writing strategies, we will seek to read critically, formulate questions, and write persuasively about contemporary issues of globalization. Varied readings, journalistic, scholarly, and literary, as well as our own experiences, will provide a springboard for discussion of the impact of globalization on particular cultures (in the United States and other countries), economic justice, national sovereignty, sustainability, and human rights in the face of increasing economic interdependence and instant communication in our "globalized" world. Students will refine persuasive skills through research, writing and revising several major essays, peer review, and a final oral presentation. 6 credits; AI, WR1, IS; Fall; Elizabeth McKinsey

ENGL 109 Introduction to Rhetoric English 109 is the single Carleton course devoted exclusively to the study and practice of expository prose. It is designed to provide students with the organizational and argumentative skills they will need in order to write effectively at the college level and beyond. All sections of the course feature diverse readings, weekly writing exercises and essays, and individual tutorials. 6 credits; NE, WR2; Winter, Spring; Carol A Rutz, Elizabeth J Ciner

ENGL 112 Introduction to the Novel This course explores the history and form of the British novel, tracing its development from a strange, sensational experiment in the eighteenth century to a dominant literary genre today. Among the questions that we will consider: What is a novel? What makes it such a popular form of entertainment? How does the novel participate in ongoing conversations about family, sex, class, race, and nation? How did a genre once considered a source of moral corruption become a legitimate literary form? Authors include: Daniel Defoe, Jane Austen, Charlotte Bronte, Bram Stoker, Virginia Woolf, and Jackie Kay. 6 credits; LA, WR2; Not offered 2016-17

ENGL 114 Introduction to Medieval Narrative This class will focus on three of the most popular and closely connected modes of narrative enjoyed by medieval audiences: the epic, the romance, and the saint's life. Readings, drawn primarily from the English and French traditions, will include Beowulf, The Song of Roland, the Arthurian romances of Chretien de Troyes, and legends of St. Alexis and St. Margaret. We will consider how each narrative mode influenced the other, as we encounter warriors and lovers who suffer like saints, and saints who triumph like warriors and lovers. Readings will be in translation or highly accessible modernizations. 6 credits; LA, WR2; Not offered 2016-17

ENGL 115 The Art of Storytelling Jorge Luis Borges is quoted as saying that "unlike the novel, a short story may be, for all purposes, essential." This course focuses attention primarily on the short story as an enduring form. We will read short stories drawn from different literary traditions and from various parts of the world. Stories to be read include those by Aksenov, Atwood, Beckett, Borges, Camus, Cheever, Cisneros, Farah, Fuentes, Gordimer, Ishiguro, Kundera, Mahfouz, Marquez, Moravia, Nabokov, Narayan, Pritchett, Rushdie, Trevor, Welty, and Xue. 6 credits; LA, WR2; Spring; Kofi Owusu

ENGL 117 African American Literature This course pays particular attention to the tradition of African American literary expression and the individual talent that brings depth and diversity to that tradition. The course's broader aims will be complemented by an introduction to the concept of genre and by the cultivation of the relevant skills of literary analysis. Authors to be read include Baraka, Ed Bullins, Countee Cullen, Douglass, Ellison, Nikki Giovanni, Hughes, Weldon Johnson, Larsen, and Wheatley. 6 credits; LA, WR2, IDS; Fall; Kofi Owusu

ENGL 118 Introduction to Poetry “Poetry is the way we help give name to the nameless so it can be thought”—Audre Lorde. In this course we will explore how poets use form, tone, sound, imagery, rhythm, and subject matter to create works of astonishing imagination, beauty, and power. In discussions, Moodle posts, and essay assignments we’ll analyze individual works by poets from Sappho to Amanda Gorman (and beyond); there will also be daily recitations of poems, since the musicality is so intrinsic to the meaning. 6 credits; LA, WR2; Not offered 2016-17

ENGL 119 Introduction to U.S. Latino/a Literature We will begin by examining the forefathers and mothers of Latino/a literature: the nineteenth century texts of exile, struggles for Latin American independence, and southwestern resistance and accommodation. The early twentieth century offers new genres: immigrant novels and popular poetry that reveal the nascent Latino identities rooted in (or formed in opposition to) U.S. ethics and ideals. Finally we will read a sampling of the many excellent contemporary authors who are transforming the face of American literature. 6 credits; LA, WR2, IDS; Not offered 2016-17

ENGL 125 Norse and Celtic Mythology What remains of the beliefs of the pre-Christian Norse and Celts represent some of the stranger and more obscure elements of Western tradition. Preserved thanks to the literacy which was brought by the new religion that extinguished it, the mythology of the Irish, Welsh, and Icelanders left a legacy that reveals itself in surprising places in our modern world. This course studies works such as the Prose and Poetic Eddas, The Mabinogi, and The Táin to explore myths as the products of environment and culture and examine the problems of transmission inherent to Christian descriptions of pagan belief. 6 credits; LA, WR2, IS; Fall; Jeremy P DeAngelo

ENGL 129 Introduction to British Comedy "And those things do best please me / That befall prepost'rously." A survey of comic plays, novels, short stories, films and television from Shakespeare, Austen, Lewis Carroll, Gilbert and Sullivan, Oscar Wilde, through P.G. Wodehouse and beyond. 6 credits; LA, WR2; Fall; Constance Walker

ENGL 131 Reading Fiction Selected texts to be read in this course include those by Daniel Defoe, Thomas Hardy, Charles Johnson, J.M. Coetzee, Zadie Smith, and Sherman Alexie. We will pay close attention to the language of fiction, to the nature of narrative, and to narrative traditions in our ten-week journey from the world of Defoe's Moll Flanders to that of Alexie's Part-Time Indian. 6 credits; LA, WR2; Winter; Kofi Owusu

ENGL 135 Imperial Adventures Indiana Jones has a pedigree. In this class we will encounter some of his ancestors in stories, novels and comic books from the early decades of the twentieth century. The wilds of Afghanistan, the African forest, a prehistoric world in Patagonia, the opium dens of mysterious exotic London--these will be but some of our stops as we examine the structure and ideology and lasting legacy of the imperial adventure tale. Authors we will read include Arthur Conan Doyle, Edgar Rice Burroughs, Rudyard Kipling and H. Rider Haggard. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 144 Shakespeare I A chronological survey of the whole of Shakespeare's career, covering all genres and periods, this course explores the nature of Shakespeare's genius and the scope of his art. Particular attention is paid to the relationship between literature and stagecraft ("page to stage"). By tackling the complexities of prosody, of textual transmission, and of Shakespeare's highly figurative and metaphorical language, the course will help you further develop your ability to think critically about literature. Note: Declared or prospective English majors should register for English 244. 6 credits; LA; Fall; Pierre Hecker

ENGL 160 Introduction to Creative Writing This course offers training in the writing and revision of poetry and prose fiction, supplemented by examples from published writers and some essays on the creative process. Discussion of each participant's writing is the central mode of instruction. 6 credits; ARP, WR2; Fall, Winter, Spring; Gregory G Hewett, Gregory B Smith

ENGL 161 Writing Across Genres This course is a practitioner’s guide to the creative writing process. We will work across genres, from poetry and prose fiction to creative nonfiction. Much of the reading in the class will be generated by class participants. Be ready to engage in critical and compassionate editorial conversation/discussion of each other’s writing. 6 credits; ARP, WR2; Fall; Kalia Yang

ENGL 194 The "Great War" and the Literary Imagination The First World War shaped the world that we recognize as ours, creating new ways of remembering and forgetting as well as new forms of artistic expression. Writers shattered poetic forms and visual artists traditional modes of representation in order to register the previously unimaginable horrors of mechanized trench warfare and industrial-scale slaughter. Focusing primarily on poetry we will follow the arc of this aesthetic engagement from both British and German perspectives, starting with the late-Romantic musings of Rupert Brooke, through the haunting poems of Wilfred Owen, on to the various short-lived movements that marked the birth of modernism. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 202 The Bible as Literature We will approach the Bible not as an archaeological relic, nor as the Word of God, but "as a work of great literary force and authority [that has] shaped the minds and lives of intelligent men and women for two millennia and more." As one place to investigate such shaping, we will sample how the Bible (especially in the "Authorized" or King James version) has drawn British and American poets and prose writers to borrow and deploy its language and respond creatively to its narratives, images, and visions. 6 credits; LA, WR2; Spring; Peter J Balaam

ENGL 203 The Age of Beowulf Although the Age of Beowulf ended almost one thousand years ago, its influence endures. Just as the CGI adaptation of Beowulf uses Old English--the language in England during this period--to mark the monstrous, the History Channel's Vikings uses this era as a historical backdrop, and Tolkien's LOTR finds much of its inspiration in Old English literature. In this class, then, we'll return to the source--to tales of demons, dragons, heroes, and saints found in various chronicles, poems, riddles, and more from the Age of Beowulf--and, hopefully, start to understand why this particular epoch looms so large. Texts will be read in modern translation. 6 credits; LA, WR2; Not offered 2016-17

ENGL 204 History of the English Language This class teaches the history of the English language through the prism of sociolinguistics. Along with teaching phonology, the basics of Old and Middle English, and changes in morphology, pronunciation and vocabulary over time, the course will explore how language both shapes and is shaped by society. We will use the history of English as a vehicle for exploring issues of imperialism, class, and politics that arose throughout the language’s development. Along the way, students see how language plays an active role in both perpetuating and resolving communities’ thorniest social problems, in the past and in the present day. 6 credits; HI, WR2; Spring; Jeremy P DeAngelo

ENGL 205 The Medieval Outlaw Some of the most enduring figures of the Middle Ages are Robin Hood and his Merry Men. However, the Robin Hood we know only appeared in English literature in the Late Middle Ages and his story was not established until the Renaissance. This course traces the development of the outlaw figure from Anglo-Saxon poetry through Irish and Icelandic traditions to the rebels that arose in the Middle English period. We examine the outlaw from several theoretical standpoints, including the postcolonial, anthropological, ecocritical, and gender studies perspectives. All readings are either in Middle English or in Modern English translation. 6 credits; LA, WR2; Spring; Jeremy P DeAngelo

ENGL 209 The Merchant of Venice: A Project Course This interdisciplinary course will explore one of Shakespeare’s most controversial and complex plays, The Merchant of Venice. We will investigate the play’s historical, political, religious, and theatrical contexts as we try to understand not only the world that produced the play, but the world that came out of it. How should what we learn of the past inform a modern production? How can performance offer interpretive arguments about the play’s meanings? Individual and group projects may involve research, writing, dramaturgy, program design, and exhibition curation. Students will be actively involved in a full-scale Carleton Players production of the play. 6 credits; LA, IS; Winter; Pierre Hecker

ENGL 210 From Chaucer to Milton: Early English Literature An introduction to some of the major genres, texts, and authors of medieval and Renaissance England. Readings may include works of Chaucer, Spenser, Shakespeare, Milton, and the lyric poets of the sixteenth and seventeenth centuries. 6 credits; LA, WR2; Winter; Jeremy P DeAngelo

ENGL 211 Neoclassic, Romantic, and Victorian Literature Readings in eighteenth and nineteenth-century British literature. 6 credits; LA, WR2; Not offered 2016-17

ENGL 212 Nineteenth-Century American Literature A survey of the major forms and voices of nineteenth-century American literature during the Romantic and Realist periods, with attention to historical and intellectual contexts including ideas about race, class, gender, and the nature of democracy. Topics covered will include the literary writings of Transcendentalism, abolition, and the rise of literary "realism" after the Civil War as an artistic response to urbanization and industrialism. Writers to be read include Irving, Hawthorne, Melville, Emerson, Fuller, Jacobs, Douglass, Dickinson, Whitman, Twain, James, and Chopin. 6 credits; LA, WR2; Not offered 2016-17

ENGL 213 Christopher Marlowe Christopher Marlowe lived fast, died young, and left behind a beautiful body of work. The course will explore the major plays and poems, as well as the life, of this transgressive Elizabethan writer. 3 credits; LA, WR2, IS; Not offered 2016-17

ENGL 214 Revenge Tragedy Madness, murder, conspiracy, poison, incest, rape, ghosts, and lots of blood: the fashion for revenge tragedy in Elizabethan and Jacobean England led to the creation of some of the most brilliant, violent, funny, and deeply strange plays in the history of the language. Authors may include Cary, Chapman, Ford, Marston, Middleton, Kyd, Tourneur, and Webster. 3 credits; LA, WR2, IS; Not offered 2016-17

ENGL 215 Modern American Literature A survey of some of the central movements and texts in American literature, from World War I to the present. Topics covered will include modernism, the Harlem Renaissance, the Beat generation and postmodernism. 6 credits; LA, WR2; Not offered 2016-17

ENGL 217 A Novel Education Samuel Johnson declared novels to be “written chiefly to the young, the ignorant, and the idle, to whom they serve as lectures of conduct, and introductions into life.” This course explores what sort of education the novel offered its readers during a time when fiction was considered a source of valuable lessons and also an agent of corruption. We will read a selection of eighteenth- and nineteenth-century children’s literature, seduction fiction, and novels of manners, considering how these works engage with early educational theories, notions of male and female conduct, and concerns about the didactic and sensational possibilities of fiction. Authors include Samuel Richardson, Jane Austen, Maria Edgeworth, and Charles Dickens. 6 credits; LA, WR2; Not offered 2016-17

ENGL 218 The Gothic Spirit The eighteenth and early nineteenth century saw the rise of the Gothic, a genre populated by brooding hero-villains, vulnerable virgins, mad monks, ghosts, and monsters. In this course, we will examine the conventions and concerns of the Gothic, addressing its preoccupation with terror, transgression, sex, otherness, and the supernatural. As we situate this genre within its literary and historical context, we will consider its relationship to realism and Romanticism, and we will explore how it reflects the political and cultural anxieties of its age. Authors include Horace Walpole, Ann Radcliffe, Matthew Lewis, Jane Austen, Mary Shelley, and Emily Bronte. 6 credits; LA, WR2; Not offered 2016-17

ENGL 220 Arts of Oral Presentation Instruction and practice in being a speaker and an audience in formal and informal settings. 3 credits; S/CR/NC; NE; Winter, Spring; Elizabeth McKinsey, Michael J Kowalewski

ENGL 222 The Art of Jane Austen All of Jane Austen's fiction will be read; the works she did not complete or choose to publish during her lifetime will be studied in an attempt to understand the art of her mature comic masterpieces, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. 6 credits; LA, WR2; Winter; Constance Walker

ENGL 223 American Transcendentalism Attempts to discern the nineteenth-century Zeitgeist come down, Emerson says, to a "practical question of the conduct of life. How shall I live?" This interdisciplinary course will investigate the works of the American Transcendentalist movement in its restless discontent with the conventional, its eclectic search for better ways of thinking and living. We will engage major works of Emerson, Thoreau, Fuller, and Whitman alongside documents of the scientific, religious, and political changes that shaped their era and provoked their responses. 6 credits; LA, WR2; Winter; Peter J Balaam

ENGL 225 'Public Offenders': Pre-Raphaelites and Bloomsbury Group Two exceptional groups of artists changed aesthetic and cultural history through their writings, art, politics, and lives. The Pre-Raphaelite Brotherhood began in 1847 when art students united to create “direct and serious and heartfelt” work; the Bloomsbury group began with Cambridge friends sharing their insistence on aesthetic lives. Critics said the PRB “extolled fleshliness as the supreme end of poetic and pictorial art,” and the Bloomsbury Group “painted in circles, lived in squares and loved in triangles.” We will study Dante Rossetti, Holman Hunt, John Millais, William Morris, Virginia Woolf, E.M. Forster, Roger Fry, Vanessa and Clive Bell. 6 credits; LA, WR2, IS; Spring; Susan Jaret McKinstry

ENGL 226 Modernism In the first decades of the twentieth century, modernist writers, artists, and thinkers confronted a modern world of rapidly accelerating industrialization, urbanization, and militarization with radically new ideas and forms that, by the estimation of many, upended twenty centuries of culture. This course, while centered on literature, will explore the modernist movement on both sides of the Atlantic and across genres and disciplines. We will study William Butler Yeats, James Joyce, T.S. Eliot, Ezra Pound, H.D. (Hilda Doolittle), Gertrude Stein, Ernest Hemingway, William Faulkner, Pablo Picasso, Igor Stravinsky, Albert Einstein, and Sigmund Freud, among others. 6 credits; LA, WR2; Fall; Gregory G Hewett

ENGL 228 Encountering the Other: The Crusades The Crusades, beginning in 1099, brought the kingdoms of Western Europe into contact with many new cultures. This course studies the literature of the period to understand the attitudes and motivations that initiated it, and takes a postcolonialist approach to characterize texts from the Crusades as an attempt to define the Self against the Other—not just on the part of the Crusaders, but from the perspective of Muslims, Jews, Orthodox Greeks, and others. By examining this material, we can gain insight into the motivations behind prejudice and violence, issues which are of crucial importance today. 6 credits; LA, WR2, IDS; Winter; Jeremy P DeAngelo

ENGL 229 The Rise of the Novel This course traces the development of a sensational, morally dubious genre that emerged in the eighteenth-century: the novel. We will read some of the most entertaining, best-selling novels written during the first hundred years of the form, paying particular attention to the novel’s concern with courtship and marriage, writing and reading, the real and the fantastic. Among the questions we will ask: What is a novel? What distinguished the early novel from autobiography, history, travel narrative, and pornography? How did this genre come to be associated with women? How did early novelists respond to eighteenth-century debates about the dangers of reading fiction? Authors include Aphra Behn, Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Laurence Sterne, and Jane Austen. Offered at both the 200 and 300 levels; coursework will be adjusted accordingly. 6 credits; LA, WR2; Not offered 2016-17

ENGL 234 Literature of the American South Masterpieces of the "Southern Renaissance" of the early and mid-twentieth century, in the context of American regionalism and particularly the culture of the South, the legacy of slavery and race relations, social and gender roles, and the modernist movement in literature. Authors will include Allen Tate, Jean Toomer, William Faulkner, Robert Penn Warren, Zora Neale Hurston, Eudora Welty, Katherine Anne Porter, William Percy, and others. 6 credits; LA, WR2, IDS; Not offered 2016-17

ENGL 235 Asian American Literature This course is an introduction to major works and authors of fiction, drama, and poetry from about 1900 to the present. We will trace the development of Asian American literary traditions while exploring the rich diversity of recent voices in the field. Authors to be read include Carlos Bulosan, Sui Sin Far, Philip Kan Gotanda, Maxine Hong Kingston, Jhumpa Lahiri, Milton Murayama, Chang-rae Lee, Li-young Lee, and John Okada. 6 credits; LA, WR2, IDS; Winter; Nancy J Cho

ENGL 236 American Nature Writing A study of the environmental imagination in American literature. We will explore the relationship between literature and the natural sciences and examine questions of style, narrative, and representation in the light of larger social, ethical, and political concerns about the environment. Authors read will include Thoreau, Muir, Jeffers, Abbey, and Leopold. Students will write a creative Natural History essay as part of the course requirements. 6 credits; LA, WR2; Fall; Michael J Kowalewski

ENGL 238 African Literature in English This is a course on texts drawn from English-speaking Africa since the 1950's. Authors to be read include Chinua Achebe, Ama Ata Aidoo, Ayi Kwei Armah, Buchi Emecheta, Bessie Head, Benjamin Kwakye, and Wole Soyinka. 6 credits; LA, IS; Spring; Kofi Owusu

ENGL 244 Shakespeare I A chronological survey of the whole of Shakespeare's career, covering all genres and periods, this course explores the nature of Shakespeare's genius and the scope of his art. Particular attention is paid to the relationship between literature and stagecraft ("page to stage"). By tackling the complexities of prosody, of textual transmission, and of Shakespeare's highly figurative and metaphorical language, the course will help you further develop your ability to think critically about literature. Note: non-majors should register for English 144. 6 credits; LA; Fall; Pierre Hecker

ENGL 245 Bollywood Nation This course will serve as an introduction to Bollywood or popular Hindi cinema from India. We will trace the history of this cinema and analyze its formal components. We will watch and discuss some of the most celebrated and popular films of the last 60 years with particular emphasis on urban thrillers and social dramas. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 247 The American West Wallace Stegner once described the West as "the geography of hope" in the American imagination. Despite various dystopian urban pressures, the region still conjures up images of wide vistas and sunburned optimism. We will explore this paradox by examining both popular mythic conceptions of the West (primarily in film) and more searching literary treatments of the same area. We will explore how writers such as Twain, Cather, Stegner and Cormac McCarthy have dealt with the geographical diversity and multi-ethnic history of the West. Weekly film showings will include The Searchers, McCabe and Mrs. Miller, Unforgiven, and Lone Star. Extra Time Required, evening screenings. 6 credits; LA, WR2; Not offered 2016-17

ENGL 248 Visions of California An interdisciplinary exploration of the ways in which California has been imagined in literature, art, film and popular culture from pre-contact to the present. We will explore the state both as a place (or rather, a mosaic of places) and as a continuing metaphor--whether of promise or disintegration--for the rest of the country. Authors read will include Muir, Steinbeck, Chandler, West, and Didion. Weekly film showings will include Sunset Boulevard, Chinatown and Blade Runner. 6 credits; LA, WR2, IDS; Not offered 2016-17

ENGL 249 Irish Literature We will read and discuss modern Irish poetry, fiction, and drama in the context of Irish politics and culture. Readings will include works by W. B. Yeats, James Joyce, Patrick Kavanaugh, Samuel Beckett, Brian Friel, Edna O'Brien, Seamus Heaney, Eavan Boland, and Ciaran Carson, among others. 6 credits; LA, WR2; Winter; Constance Walker

ENGL 250 Indian Fiction 1880-1980 In this course we will follow the various paths that the novel in India has taken since the late nineteenth century. Reading both works composed in English and some in translation we will probe in particular the ways in which questions of language and national/cultural identity are constructed and critiqued in the Indian novel. We will read some of the most celebrated Indian writers of the last 100 odd years as well as some who are not as well-known as they should be. The course will also introduce you to some fundamental concepts in postcolonial studies. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 251 Contemporary Indian Fiction Contemporary Indian writers, based either in India or abroad, have become significant figures in the global literary landscape. This can be traced to the publication of Salman Rushdie's second novel, Midnight's Children in 1981. We will begin with that novel and read some of the other notable works of fiction of the following decades. The class will provide both a thorough grounding in the contemporary Indian literary scene as well as an introduction to some concepts in post-colonial studies. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 252 Caribbean Fiction This course will examine Anglophone fiction in the Caribbean from the late colonial period through our contemporary moment. We will examine major developments in form and language as well as the writing of identity, personal and (trans)national. We will read works by canonical writers such as V.S. Naipaul, George Lamming and Jamaica Kincaid, as well as by lesser known contemporary writers. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 257 Ireland Program: Contemporary Irish Literature In this course students will read contemporary Irish literature and meet with writers. Students will learn how to write short book reviews and how to interview an author. The goal of the course is for student writers to become familiar with the rich, unique world of Irish letters today, and more generally, to understand how a community of writers works. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 258 Contemporary American Playwrights of Color This course examines a diverse selection of plays from the 1960s to the present, exploring how different theatrical contexts, from Broadway to regional theater to Off-Off Broadway, frame the staging of ethnic identity. Playwrights and performers to be studied include Amiri Baraka, Alice Childress, Ntozake Shange, George C. Wolfe, Luis Valdez, David Henry Hwang, August Wilson, Philip Gotanda, Maria Irene Fornes, Suzan-Lori Parks, and Anna Deavere Smith. There will be occasional out-of-class film screenings, and attendance at live theater performances when possible. 6 credits; LA, WR2, IDS; Spring; Nancy J Cho

ENGL 260 Ireland Program: Creative Writing in Ireland Students will be asked to do journal writing covering their experiences of place, people, history, legend, contemporary events and conflicts, etc.--out of which they will produce a portfolio of creative nonfiction (a hybrid of personal essay and expository writing). The goal of this course is to synthesize experience into creative writing. 6 credits; ARP, WR2, IS; Not offered 2016-17

ENGL 261 Telling Your American Story This is a creative nonfiction course focused around students writing their American stories. The goal of the course is the generation of new narratives to enrich and add complexity to the popular stories of what constitutes America(n). Each assignment will build on the next, culminating in a final portfolio of student writing about their lives and its place in American history and context. Prerequisite: Any one English course. 6 credits; ARP, WR2; Spring; Kalia Yang

ENGL 262 Narrative Lab We’ll explore narrative in any number of styles and guises, reading and writing various forms including the fairy tale, prose poem, ten minute play, and short fiction. We may veer toward the pilot and we will touch on the narrative potential in video games. A few of the questions we'll consider: What do we require of narrative in 2017? What form is best suited to specific material? What basic material must be included in this form but is not essential to that form? Some projects will be collaborative and others will be done solo. 6 credits; S/CR/NC; ARP, WR2; Winter; Jane H Hamilton

ENGL 263 Crafts of Writing: Creative Non-Fiction This course explores the translation from event to effective writing through a variety of creative non-fiction forms, including memoir, journalism, and personal essay. Discussion of each participant's writing is the central mode of instruction, supplemented by examples from published writers, current magazines and newspapers, and essays on the creative process. Each student will create a portfolio of their work. Prerequisite: One previous English course. 6 credits; S/CR/NC; ARP, WR2; Spring; Dennis M Cass

ENGL 270 Short Story Workshop An introduction to the writing of the short story (prior familiarity with the genre of the short story is expected of class members). Each student will write and have discussed in class three stories (from 1,500 to 6,000 words in length) and give constructive suggestions, including written critiques, for revising the stories written by other members of the class. Attention will be paid to all the elements of fiction: characterization, point of view, conflict, setting, dialogue, etc. Prerequisite: One prior 6-credit English course. 6 credits; S/CR/NC; ARP, WR2; Fall, Winter; Gregory B Smith, Jane H Hamilton

ENGL 271 Poetry Workshop This course offers newer poets ways of developing poetic craft and vision. Through intensive writing and revision of poetry, supplemented by reading and discussion of poetry, each member of the group will create a portfolio of poems. Prerequisite: One prior 6 credit English course. 6 credits; ARP, WR2; Winter; Gregory G Hewett

ENGL 272 Film, Literature, and Culture in Hong Kong/Seoul and Mumbai: Mumbai Stories In Mumbai we will read a range of short stories and novels that take Mumbai/Bombay as their setting and discuss the ways in which the heterogeneous cosmopolitanisms of the city are both represented and re-articulated in its fiction. While our focus will be on Mumbai/Bombay, the course will also function as an introduction to twentieth century and contemporary Indian fiction. 6 credits; ARP, WR2; Not offered 2016-17

ENGL 273 Writing Memoir This writing workshop allows students to explore the craft of memoir through intensive writing, critique, and revision in order to create their own memoir. To develop their skills, students will read and discuss memoirs in varied forms (including visual arts), and consider the competing demands of truth, narrative, fiction, and non-fiction in this rich and complex genre. Prerequisite: One prior 6 credit English course or instructor permission. 6 credits; ARP, WR2; Not offered 2016-17

ENGL 274 Ireland Program: Irish Literary Pasts and Presents In Dublin and Belfast we will read and discuss works by Irish writers from the early twentieth century on the Irish Literary Revival and the political and cultural currents leading up the Easter Rising and Irish independence; we will also read works by early twenty-first century Irish writers in conversation with those crucial moments in Irish political and cultural self-fashioning from a century ago. We will also meet with writers and attend readings, lectures, films, and plays. Prerequisite: Participation in OCS Ireland program. 6 credits; LA, IS, WR2; Not offered 2016-17

ENGL 275 Rhetoric and Self-Presentation Given that 75% of Carleton graduates enroll in graduate or professional school within five years of graduation, today's undergraduates can expect to be required to present themselves, their personal histories, their ideas, and their career goals in writing for various prestigious audiences. In this course, we will examine the rhetoric of self-presentation in contexts such as personal statements, fellowship applications, and research proposals. Students should expect frequent peer workshops and extensive revision toward polished, formally written products. Prerequisite: Sophomore standing or higher. 6 credits; NE, WR2, QRE; Fall; Carol A Rutz

ENGL 277 London Progam: London Studies Project In consultation with the director, students will work in pairs or groups of three to design an independent research project that demonstrates their knowledge of London. The projects will focus on particular London sites chosen by students--a street, a tube station, a city square, a store, a public artwork--the possibilities are vast. Student groups will design a presentation format (e.g., digital slideshow, poster board, artistic collage, etc.) and present their projects at the end of term. 3 credits; S/CR/NC; NE; Spring; Arnab Chakladar

ENGL 279 London Program: Urban Field Studies A combination of background readings, guided site visits, and personal exploration will give students tools for understanding the history of multicultural London. Starting with the city's early history and moving to the present, students will gain an understanding of how the city has been defined and transformed over time and of the complex cultural narratives that shape its standing as a global metropolis. 6 credits; S/CR/NC; NE; Spring; Arnab Chakladar

ENGL 281 Postcolonial London There has been a rich history of immigration to England from its colonies from the very beginning of the colonial period. And in the twentieth century writers from England's (ex) colonial possessions have reshaped our understanding of English identity and literature. Beginning in the 1950s and progressing to the present, this class will study a number of these writers and in particular their representation of the city of London. Readings include Sam Selvon, V.S. Naipaul, Salman Rushdie, Monica Ali, Zadie Smith and Hanif Kureishi. There will also be film and television screenings as well as other visual and musical materials. Prerequisite: Participation in OCS London program. 6 credits; LA, WR2, IS; Spring; Arnab Chakladar

ENGL 282 London Program: London Theater Students will attend productions (at least two per week) of classic and contemporary plays in a range of London venues both on and off the West End, and will do related reading. We will also travel to Stratford-upon-Avon for a 3-day theater trip. Class discussions will focus on dramatic genres and themes, dramaturgy, acting styles, and design. Guest speakers may include actors, critics, and directors. Students will keep a theater journal and write several full reviews of plays. Prerequisite: Participation in OCS London program. 6 credits; LA, WR2; Spring; Arnab Chakladar

ENGL 286 Eat the Story What happens when kids stop playing with their food? We write about it, Instagram it, Tweet it. Our obsession has also inspired a bumper crop of new food prose: call it desk-to-table. "Eat the Story" will be a writing workshop, with a focus on foodways, heirloom crops, and community/urban ag. Our reading menu will draw on contemporary post-Pollan food journalism. (Depending on our appetite, we may visit with local food producers.) These samples will serve as fodder for our main course: practical field reporting and writing projects, from blog posts to longer features. Prerequisite: One prior 6-credit English course. 6 credits; ARP, WR2; Not offered 2016-17

ENGL 287 Storytelling in a Changing Media Landscape There have never been more platforms available to journalists--from Twitter to full-length films and everything in between. But each of these platforms has is own strengths and weaknesses as a way to communicate, and simply porting older forms like newspaper and magazine writing to new platforms is doomed to be unsatisfying to both storyteller and audience. We'll look at the tools and technologies available to today's journalists, identify how they might be most effectively deployed, and do case studies on some of the best work happening at the frontier of the media business. Prerequisite: One prior 6 credit English course or Cinema and Media Studies Digital Foundations course. 2 credits; ARP; Not offered 2016-17

ENGL 288 California Program: The Literature of California An intensive study of writing and film that explores California both as a place (or rather, a mosaic of places) and as a continuing metaphor--whether of promise or disintegration--for the rest of the country. Authors read will include John Muir, Raymond Chandler, Nathanael West, Robinson Jeffers, John Steinbeck, and Joan Didion. Films will include: Sunset Boulevard, Chinatown, The Grapes of Wrath, Zoot Suit, and Blade Runner. 6 credits; LA, IDS; Winter; Michael J Kowalewski

ENGL 295 Critical Methods Required of students majoring in English, this course explores practical and theoretical issues in literary analysis and contemporary criticism. Not open to first year students. Prerequisite: One English Foundations course and one prior 6 credit English course. 6 credits; LA, WR2; Fall, Winter; Peter J Balaam, Susan Jaret McKinstry

ENGL 302 The Medieval Outlaw Some of the most enduring figures of the Middle Ages are Robin Hood and his Merry Men. However, the Robin Hood we know only appeared in English literature in the Late Middle Ages and his story was not established until the Renaissance. This course traces the development of the outlaw figure from Anglo-Saxon poetry through Irish and Icelandic traditions to the rebels that arose in the Middle English period. We examine the outlaw from several theoretical standpoints, including the postcolonial, anthropological, ecocritical, and gender studies perspectives. All readings are either in Middle English or in Modern English translation. Prerequisite: One English foundations course and one other 6 credit English course. 6 credits; LA, WR2; Spring; Jeremy P DeAngelo

ENGL 310 Shakespeare II Continuing the work begun in Shakespeare I, this course delves deeper into the Shakespeare canon. More difficult and obscure plays are studied alongside some of the more famous ones. While focusing principally on the plays themselves as works of art, the course also explores their social, intellectual, and theatrical contexts, as well as the variety of critical response they have engendered. Prerequisite: One English Foundations course and English 144 or 244. 6 credits; LA, WR2; Not offered 2016-17

ENGL 319 The Rise of the Novel This course traces the development of a sensational, morally dubious genre that emerged in the eighteenth-century: the novel. We will read some of the most entertaining, best-selling novels written during the first hundred years of the form, paying particular attention to the novel’s concern with courtship and marriage, writing and reading, the real and the fantastic. Among the questions we will ask: What is a novel? What distinguished the early novel from autobiography, history, travel narrative, and pornography? How did this genre come to be associated with women? How did early novelists respond to eighteenth-century debates about the dangers of reading fiction? Authors include Aphra Behn, Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Laurence Sterne, and Jane Austen. Offered at both the 200 and 300 levels; coursework will be adjusted accordingly. Prerequisite: One English foundations course and one other six credit English course. 6 credits; LA, WR2; Not offered 2016-17

ENGL 323 English Romantic Poetry "It is impossible to read the compositions of the most celebrated writers of the present day without being startled with the electric life which burns within their words"--P. B. Shelley. Readings in Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and their contemporaries. Prerequisite: One English foundations course and one other 6 credit English course. 6 credits; LA, WR2; Spring; Constance Walker

ENGL 327 Victorian Novel We will study selected British novels of the nineteenth century (Eliot's Middlemarch, Dickens' Bleak House, Carroll's Alice in Wonderland, Du Maurier's Trilby, C. Bronte's Jane Eyre, and E. Bronte's Wuthering Heights) as literary texts and cultural objects, examining the prose and also the bindings, pages, and illustrations of Victorian and contemporary editions. Using Victorian serial publications as models, and in collaboration with studio art and art history students, students will design and create short illustrated serial editions of chapters that will be exhibited in spring term. Prerequisite: One English foundations course and one additional 6 credit English course or instructor consent. 6 credits; LA, WR2; Winter; Susan Jaret McKinstry

ENGL 328 Victorian Poetry Living in an era of rapid progress and profound doubt, Victorian poets are prolific, challenging, inventive, and insistent that poetry address contemporary questions of social inequity, science, gender, nation, self, race, and knowledge itself. Readings will include works by Alfred Tennyson, Robert Browning, Oscar Wilde, Matthew Arnold, Dante Rossetti, Christina Rossetti, Charles Dodgson (Lewis Carroll), Gerard Manley Hopkins, and others, as well as cultural images and documents. Prerequisite: One English foundations course and one other 6 credit English course. 6 credits; LA, WR2; Not offered 2016-17

ENGL 329 The City in American Literature How do American authors "write the city"? The city as both material reality and metaphor has fueled the imagination of diverse novelists, poets, and playwrights, through tales of fallen women and con men, immigrant dreams, and visions of apocalypse. After studying the realistic tradition of urban fiction at the turn of the twentieth century, we will turn to modern and contemporary re-imaginings of the city, with a focus on Chicago, New York and Los Angeles. Selected films, photographs, and historical sources will supplement our investigations of how writers face the challenge of representing urban worlds. Prerequisite: One English foundations course and one other 6 credit English course, or instructor permission. 6 credits; LA, WR2; Spring; Nancy J Cho

ENGL 332 Faulkner, Hemingway, and Fitzgerald An intensive study of the novels and short fiction of William Faulkner, Ernest Hemingway, and F. Scott Fitzgerald. The course will focus on the ethos of experimentation and the "homemade" quality of these innovative stylists who shaped the course of American modernism. Works read will be primarily from the twenties and thirties and will include The Sound and the Fury, In Our Time, Light in August, The Great Gatsby, The Sun Also Rises, and Go Down, Moses. Prerequisite: One English foundations course and one additional 6 credit English course. 6 credits; LA, WR2; Not offered 2016-17

ENGL 334 Postmodern American Fiction We will get lost in the funhouse of postmodern fiction, in whose mirrored rooms we will encounter Maxwell's Demon, a depressed Krazy Kat, and the icy imagination of the King of Zembla. (Time will be budgeted for side-excursions into pastiche, dreck, and indeterminacy.) Authors read will include Nabokov, Pynchon, Barthelme, and DeLillo. Prerequisite: One English foundations course and one additional 6 credit English course. 6 credits; LA, WR2; Winter; Gregory B Smith

ENGL 335 England in India/India in England This class will begin by exploring the representation of India in the colonial British imagination and segue into the representation of Britain by contemporary South Asian immigrant writers. We will examine the ways in which British and Indian identities are staged, contested and constructed in both the colonial and postcolonial period. Primary texts will include novels by Kipling, Forster, Kureishi and Kunzru; we will also read a range of postcolonial theory and watch related films and television shows. Prerequisite: One English foundations course and one other 6 credit English course. 6 credits; LA, IS, WR2; Not offered 2016-17

ENGL 350 The Postcolonial Novel: Forms and Contexts Authors from the colonies and ex-colonies of England have complicated our understandings of the locations, forms and indeed the language of the contemporary English novel. This course will examine these questions and the theoretical and interpretive frames in which these writers have often been placed, and probe their place in the global marketplace (and awards stage). We will read a number of major novelists of the postcolonial era from Africa, South Asia, the Caribbean and the diaspora as well as some of the central works of postcolonial literary criticism. Prerequisite: One English foundations course and one additional 6 credit English course. 6 credits; LA, WR2, IS; Not offered 2016-17

ENGL 351 Zadie Smith In this course we will study the majority of the oeuvre of Zadie Smith, a writer who stands at the intersections of a number of traditions of literary study as traditionally construed. All the novels will be read along with some short stories and much of her critical essays and other non-fiction work. We will read the growing body of criticism on her work as well and analyze the ongoing development of one of the major writers of our time. Prerequisite: One English foundations course and one additional 6 credit English course. 6 credits; LA, IS; Fall; Arnab Chakladar

ENGL 352 Toni Morrison: Novelist Morrison exposes the limitations of the language of fiction, but refuses to be constrained by them. Her quirky, inimitable, and invariably memorable characters are fully committed to the protocols of the narratives that define them. She is fearless in her choice of subject matter and boundless in her thematic range. And the novelistic site becomes a stage for Morrison's virtuoso performances. It is to her well-crafted novels that we turn our attention in this course. Prerequisite: One English foundations course and one other 6 credit English course or instructor permission. 6 credits; LA, WR2, IDS; Winter; Kofi Owusu

ENGL 362 Narrative Theory "Does the world really present itself to perception in the form of well-made stories?" asks Hayden White, metahistoriographer. To try to answer that question, we will read contemporary narrative theory by critics from several disciplines and apply their theories to literary texts, films, and cultural objects such as graphic novels, television shows, advertisements, and music videos. Prerequisite: One 6-credit English foundations course and one additional 6-credit English course or permission of the instructor. 6 credits; LA, WR2; Fall; Susan Jaret McKinstry

ENGL 370 Advanced Fiction Workshop An advanced course in the writing of fiction. Students will write three to four short stories or novel chapters which will be read and critiqued by the class. Students wishing to register for the course must first submit a portfolio of creative writing (typically a short story) to the instructor during Registration (see the English Department's website for full instructions.) Final enrollment is based on the quality of the submitted work. Prerequisite: English 160, 161, 263, 265, 270, 271, 273, Cinema and Media Studies 271, 278, 279, Cross Cultural Studies 270 or Theater 246. 6 credits; S/CR/NC; ARP, WR2; Spring; Gregory B Smith

ENGL 371 Advanced Poetry Workshop For students with some experience in writing poetry, this workshop further develops craft and vision. Readings and exercises will be used to expand the poet's individual range, and to explore the power of poetic language. Over the ten weeks, each poet will write and revise a significant portfolio. Students must submit three poems to the instructor prior to registration. Final enrollment is based on the quality of the submitted work. Prerequisite: English 160, 161, 263, 265, 270, 271, 273, Cinema and Media Studies 271, 278, 279, Cross Cultural Studies 270 or Theater 246. 6 credits; ARP, WR2; Spring; Gregory G Hewett

ENGL 395 Dissenting Americans This course examines the rich tradition of cultural critique that has helped to define American literature. What does it mean to write as a "dissenting American"? How are political debates shaped by genre and the writer's craft? Different historical moments will inform our readings of paired authors: Henry David Thoreau, Rebecca Harding Davis, Stephen Crane, Charles Chesnutt, John Okada, Ralph Ellison, Lorraine Hansberry, Arthur Miller, Tennessee Williams, Alice Childress, Audre Lord, Chay Yew, and Anna Deavere Smith. Students are expected to be careful readers of criticism as well as literature, and will do a major research paper. Prerequisite: English 295 and one 300 level English course. 6 credits; LA, IDS; Fall; Nancy J Cho

ENGL 395 Murder From the ancient Greeks to the King James Bible to the modern serial killer novel, murder has always been a preeminent topic of intellectual and artistic investigation. Slaying our way across different genres and periods, we will explore why homicide has been the subject of such fierce attention from so many great minds. Prepare to drench yourselves in the blood of fiction and non-fiction works that may include: the Bible, Shakespeare, Poe, Thompson, Capote, Tey, McGinniss, Malcolm, Wilder, and Morris, as well as legal and other materials. Warning: not for the faint-hearted. Prerequisite: English 295 and one 300-level English course. 6 credits; LA; Spring; Pierre Hecker

ENGL 400 Integrative Exercise Senior English majors may fulfill the integrative exercise by completing one of the four options: the Colloquium Option (a group option in which participants discuss, analyze and write about a thematically coherent list of literary works); the Research Essay Option (an extended essay on a topic of the student's own devising); the Creative Option (creation of a work of literary art); or the Project Option (creation of an individual or group multidisciplinary project). The Research Essay Option is open to students who have completed a senior seminar in the major by the end of fall term senior year. The Creative Option is open only to students who have completed at least two creative writing courses (one of which must be at the 300 level) by the end of fall term senior year. 6 credits; S/NC; Winter, Spring