Emphasizing a writing process approach, the Summer Writing Program helps high school juniors and 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, ND.

Summer -- D. Appleman

A writing seminar designed to teach college students to be successful readers and writers. Each section includes a variety of readings chosen to teach the skills of essay writing, editing, and revision. Because of the focus on critical reading and writing, the course also serves as an excellent foundation for the English major. The following sections will be offered in 2008-2009:

Fall — A. Chakladar

With an emphasis on student writing, this seminar explores the many ways in which Shakespeare’s plays have been adapted for film. From Hollywood to Bollywood to Japan, and from Westerns to Sci-fi to cartoons, Shakespeare has been reworked and reconceived in every filmmaking culture and in every genre. Using the tools of both literary criticism and film analysis, this course seeks to assess the interpretive value of both “straightforward” and unconventional film adaptations of several of Shakespeare’s major plays. 6 credits, S/CR/NC, AL.

Fall -- P. Hecker

A course in expository and persuasive writing. May be repeated once for additional credit. 6 credits, S/CR/NC, ND, WR.
Fall, Winter, and Spring - Carleton English Faculty

This course focuses on critical reading and analytical thinking and the practice of purposeful, effective, and persuasive academic writing. Students will read and analyze a variety of literary forms by American writers and will compose frequent papers, using invention to generate ideas, defining audience, planning rhetorical strategies, drafting, and revising. Through a writing workshop approach, students will be encouraged to hone their critical skills and to refine their own writing strategies. 6, ND
Fall -- C. Oliver

Writing makes thinking visible. In this course, we will use individual research projects as well as readings to develop skills in reflection, reporting, oral presentation, and persuasion. Close collaboration with librarians will help students establish a research environment for this course and, one hopes, for future courses as well. Students should expect to write often, participate in peer review, and become critical readers of their own work. 6 credits, ND, WR.
Fall and Winter -- C. Rutz

We will apply ourselves to the skills and arts of critical reading and persuasive writing through reading of recent journalism and commentary about "globalization." Students will learn to note the particular rhetorical purposes and performed innovations of works asking: Are national cultures safe against globalization? Is the idea of the sovereign nation obsolete? What are the ethics of consumerism and cultural export in this new era? Students will do lots of informal writing, compose and revise three major essays, and present a talk in a final symposium on globalization. Readings from George Orwell, Pico Iyer, Michiko Kakutani, Arundhati Roy. 6 credits, ND.
Fall - G. Shuffelton

Chaucer, Shakespeare, Milton and lyric poets of the sixteenth and seventeenth centuries. Required of English majors. 6 credits, AL
Fall, Winter, Spring -- P. Hecker, G. Shuffelton, and C. Walker

Neoclassic, Romantic, and Victorian literature. Required of English majors. 6 credits, AL
Fall, Winter, Spring -- A. Chakladar, S. Jaret McKinstry, J. Leiman, and C. Walker

American literature to 1914 with an emphasis on the periods of Romanticism and Realism. Required of English majors. 6 credits, AL
Fall, Winter, Spring -- P. Balaam, G. Hewett, M. Kowalewski, and E. McKinsey,

This class will focus on three 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 Chrétien de Troyes, and legends of St. Alexis and St. Margaret. We will consider how each mode influenced the other, as we encounter warriors and lovers who suffer like saints, and saints who triumph like warriors and lovers. Readings in translation or highly accessible modernizations. 6 credits, AL.
Not offered in 2008-09.

This course provides an overview of African American literature. We will pay particular attention to the tradition of African American literary expression and the individual talent that brings depth and diversity to that tradition. Authors to be read include Baldwin, Baraka, Brooks, Ed Bullins, Douglass, DuBois, Dunbar, Nikki Giovanni, Hayden, Hughes, Weldon Johnson, Locke, McKay, Morrison, Toomer, Wheatley,and Wilson. English Group IV. 6 credits, AL
Winter -- K. Owusu

We will look at the whole kingdom of poetry, exploring how poets use form, tone, sound, imagery, rhythm, and subject matter to create what Wallace Stevens called the “supreme fiction.” Examples will be drawn from around the world, from Sappho to spoken word. Participation in discussion is mandatory; essay assignments will ask you to provide close readings of particular works; a couple of assignments will focus on the writing of poems so as to give you a full understanding of this ancient and living art. 6 credits, AL
Not offered in 2008-09

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 20th 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, AL.
Spring -- A. Estill

Selected poems and prose narratives written since 1910. Senior English majors may take this course only with the consent of the instructor. 6 credits, AL.
Not offered in 2008-09

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 abilities to think critically and write analytically about literature. Note: English majors or potential English majors should register for ENGL 244. 6 credits, AL.
Fall -- P. Hecker

This course is required of students majoring in English. It will deal with practical and theoretical issues in literary analysis and contemporary criticism. Any two of the following--ENGL 110, 111, and 112--are prerequisites. Not open to first year students. 6 credits, AL.
Winter and Spring -- N. Cho and S. Jaret McKinstry

Instruction and practice in being a speaker and an audience in formal and informal settings. 3 credits, S/CR/NC, ND.
Spring, First 5 weeks (01) and Second 5 weeks (02) -- M. Kowalewski and T. Raylor

The African American slave narrative chronicles remarkable transformations: how a (wo)man was made a slave and how a slave was made a (wo)man. The ex-slave’s affirmation of selfhood found expression in first-person narratives that launched a literary tradition. We will place this emerging tradition in its historical context, discuss its defining characteristics, and trace its development in twentieth-century African American autobiography. Our definition of “the literary” will not be divorced from relevant cultural codes and historical context. We will read classic slave narratives by Equiano, Douglass, and Jacobs; and twentieth-century autobiography by Washington, Hurston, Wright, Malcolm X, Angelou, Brooks, and Njeri. Group IV. 6 credits, AL, RAD.
Not offered in 2008-09.

We will focus on masterpieces of the “Southern Renaissance” of the early and mid-twentieth century, and place them into 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, AL.
Winter -- E. McKinsey

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. Group IV. 6 credits, AL, RAD.
Not offered in 2008-09.

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, Mary Austin, Jeffers, Abbey, Snyder, and Terry Tempest Williams. Students will write a creative Natural History essay as part of the course requirements. 6 credits, AL.
Not offered in 2008-09

Cross-listed with AMST 238 and ENTS 237. Study and discussion of Native American literature from its graphic and oral roots to contemporary memoir, fiction and poetry. Twentieth-century authorrs read will include Charles Eastman, James Welch, N. Scott Momaday, Louise Erdrich, Joy Harjo, Susan Power, LeAnne Howe, Leslie Marmon Silko, and Sherman Alexie. Topics to be discussed will include the importance of place, religious beliefs, nature and the "supernatural" diverse representations of historical events, communal life, and individual and tribal identity. The course will also critique the depiction of Native Americans by Euro-Americans in popular media. Group IV. 6 credits, AL, RAD.
Not offered in 2008-09.

A “book’s popularity is itself a kind of criticism, complex evidence that the best-seller in question expressed the hopes and fears of people who found them nowhere else so forcibly put.” In this course—a literary, historical, and cultural exploration of best-selling 19^th century American fiction—we will seek to understand not only which books became popular, but why they did, how their formal qualities and particular engagements moved contemporary readers to buy and read them so avidly. Page-turners, barn-burners, and tear-jerkers, nine of them, by Rowson, Cooper, Stowe, Alger, Burroughs, Zane Grey, Wharton. Group III. 6 credits, AL.
Winter -- P. Balaam

Heroes and demons, revolutionaries and explorers, the Sublime and the Abyss, and of course Nature, will be among the subjects of this interdisciplinary, multi-genre course on the international cultural, intellectual, and political movement that became known as Romanticism, a movement whose reverberations continue to be felt strongly today. Among the works and authors to be studied: Frankenstein and The Last of the Mohicans; Wordsworth and Whitman; The Sorrows of Young Werther and Confessions of an English Opium Eater; Poe and Coleridge; the Brothers Grimm and Hawthorne; Beethoven and Chopin; the Hudson River School and Turner; Goya and Verdi; Rousseau and Thoreau. Group III. 6 credits, AL.
Not offered in 2008-09

This course will focus on significant works of Ethnic American literature from the 1980's to the present through the lens of transnationalism. While Ethnic American literature continues to explore conflicts of race, ethnicity, gender, and class within the U.S., it also invokes distinct histories and cultures of other parts of the world. This transnational setting is informed by specific aspects of U.S. history, such as the slave trade or U.S. imperialism, as well as the dual national/cultural affiliation that attends immigration. By studying the works of such writers as Charles Johnson, Teresa Hak-Kyung Cha, Julia Alvarez, Jhumpa Lahiri, and Edwidge Danticat, we will explore the intricate map of contemporary American literature, which extends far beyond the U.S. borders. Group IV. 6 credits, AL.
Not offered in 2008-09.

Each text selected for this course will be paired with its filmic adaptation for a series of discussions focused on narrative structures, points of view, frames of reference, and textual (in)fidelity. We will read the following texts and watch their film versions: Wright’s Native Son, Malcolm X and Haley’s The Autobiography of Malcolm X, Naylor’s The Women of Brewster Place, Walker’s The Color Purple, McMillan’s Waiting to Exhale, and Mosley’s Devil in a Blue Dress. 6 credits, AL.
Spring --K. Owusu

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 abilities to think critically and write analytically about literature. Note: Those not majoring in English should register for ENGL 144. Group I. 6 credits, AL.
Fall—P. Hecker

1700 This course offers a rare chance for students to work at the intersection of historical research and literary study. Combining the study of historical context with case studies of particular authors, we will explore the extraordinary range of writings produced by seventeenth-century English women in a time of social, political, and scientific revolution: writings that both reflected and influenced the upheavals of their era. Authors to be studied include Margaret Cavendish (her poetry and plays, along with her political and philosophical treatises) and Mary Astell (her “feminist” educational tracts). Group II. 6 credits, AL.
Not offered in 2008-09.

After a brief introduction to earlier literary texts, the course will concentrate on twentieth century fiction, poetry and drama by W. B. Yeats, James Joyce, J. M. Synge, Brian Friel, Frank O’Connor, Sean O’Faolain, Edna O’Brien, William Trevor, Patrick Kavanagh, Seamus Heaney, Derek Mahon, Nuala Ni Dhomhnaill and many others. We will pay particular attention to the recurrent themes of national and cultural identity, the plight of women in a repressive society, the perspectives of children, the power of religion and the prevalence of violence. English Group IV. 6 credits, AL.
Spring -- Jim McDonnell

In this course we will follow the various paths that the novel in India has taken since the early 20th 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 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. Group IV. 6 credits, AL.
Fall – A. Chakladar

Modern Indian Fiction II will focus on Indian fiction by writers who came to prominence after 1980. The period is inaugurated by the monumental publication of Salman Rushdie's Midnight's Children in 1981, and part of the course objectives will be to track the explosion of Indian writing in English in the decades that follow. The course will also examine Indian fiction in translation from other languages in the same period and consider the question of the ways in which these traditions intersect, and whether it is possible to speak of Indian Literature as a singular category.
Winter -- A. Chakladar

This course offers blocks of intensive training in poetry, prose fiction, and what has recently been termed “creative non-fiction.” The primary objective is to come to an understanding of the varying and at times overlapping capabilities of these three genres and to produce works in each. Discussion of each participant’s writing is the central mode of instruction. This will be supplemented by examples from published writers and some theoretical essays on the creative process. 6 credits, S/CR/NC, ND.
Winter and Spring-- S. Jaret McKinstry -- Winter (with Soph. Priority) and Spring (without Soph. Priority)

An introduction to the writing of the short story. Each student will write and have discussed in class three stories (from 1,500 to 4,000 words in length) and give constructive suggestions about the stories written by other members of the class. Students are expected to write brief critiques of each story written by their classmates. Prerequisite writing requirement. 6 credits, S/CR/NC, ND.
Fall -- G. Smith and Spring -- B. Sonnenberg

This course concerns itself with the development of poetic vision as much as craft. Through intensive writing and revision of poetry, supplemented by reading and discussion of contemporary poetry and poetics, each member of the group will form a body of work and a statement that stakes a poetic claim. The objective is to begin to discover how each of us fits or does not fit into the modern poetical tradition and the diverse contemporary poetry scene, so as to free us from solipsism and vague notions of the powers of poetry. 6 credits, S/CR/NC, ND.
Fall -- G. Hewett

Journalism is in turmoil today. Bold experimentation is needed to meet such dramatic new challenges to journalism as the Internet, the decline of newspapers, multilingual readerships, and global crises requiring activism more than "objectivity.” The class will move between a theoretical focus -- exploring journalism's basic theories and often-contradictory methods, purposes and aims --and a practical focus inviting students to strive towards their highest journalistic ideals. Students will be challenged to blend journalism's indispensable norms of factual accuracy, fairness and quality writing with new technologies such as blogging, podcasting, videocasting, social networking and RSS feeds. 6 credits, AL.
Fall -- D. McGill

Do you like it when true things happen? Would you like to take those true things and make them sound truer than true? Would you like to use words while doing that? In this course, students will write a rant, a reported essay, and also explore a creative non-fiction form of their choosing. Class time will be spent on live writing assignments, giving and receiving feedback, learning basic research techniques, and having discussions about things that seem trivial right up until the moment that their ultimate significance is revealed.
Winter -- D. Cass

Winter —G. Hewett

The following courses are not open to first-year students unless they have the written permission of the instructor, and most upper-level courses have as a prerequisite one related introductory course in English or American Literature.

A study of The Canterbury Tales in Middle English (no previous knowledge assumed), concentrating on the pilgrims as narrating subjects, and Chaucer's legendary status as the "Father" of English Literature. Engish Group I. 6 credits, AL.
Spring -- G. Shuffelton

None of the 493 documents in the Chaucer Life Records mention his poetry; most describe his activities as a courtier and royal administrator. This course seeks to reconcile this courtly Chaucer with his writing prior to the Canterbury Tales. As we read his early dream visions, we will immerse ourselves in the courtly cultures Chaucer learned by reading French and Italian works in translation, and by examining the art and manners of the English court. The final weeks will be spent reading his finished masterpiece, Troilus and Criseyde, sometimes called "the first novel in English." Group I. 6 credits, AL.
Fall - G. Shuffelton

A study of the remarkable range of verses written by men and women of the sixteenth and seventeenth centuries in response to their turbulent times. We will trace the development of different genres and will attend to some of the major debates in which this verse is engaged—debates over the nature and purpose of poetry, the relationship between man and woman, and that between humanity and God. Our emphasis will be on lyric poetry, including the love sonnets of the 1590’s, and the so-called “metaphysical” poetry of Donne, Herbert, and Marvell. English Group I. 6 credits, AL.
Not offered in 2008-08.

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: Engl 144 or 244 or consent of the instructor. Group I. 6 credits, AL.
Winter—P. Hecker

An examination of Milton’s masterwork. English Group II. 3 credits, AL.
Not offered in 2008-09

A study of the origin and development of the English novel throughout the long eighteenth century. We will situate the early novel within its historical and cultural context, paying particular attention to its concern with courtship and marriage, writing and reading, the real and the fantastic. We will also consider eighteenth-century debates about the social function of novels and the dangers of reading fiction. Authors will include Behn, Defoe, Richardson, Fielding, Sterne, and Radcliffe. Group II. 6 credits, AL.
Winter -- J. Leiman

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 & Sensibility, Pride & Prejudice, Mansfield Park, Emma, and Persuasion. Group II. 6 credits, AL.
Fall -- C. Walker

“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. Group III. 6 credits, AL.
Winter -- C. Walker

Henry James called the Victorian novel a "great baggy monster,” but these immensely popular works define the novel as a genre, illustrate Victorian aesthetics and culture, and challenge our distinction between “popular” and “academic” literature. We will read several of the major English novelists of the nineteenth century, including Dickens, Eliot, and Bronte. Group III. 6 credits, AL.
Not offered in 2008-09.

A study of Victorian poetry with particular emphasis on Pre-Raphaelite poetry and paintings. Group III. 6 credits, AL.
Fall -- S. Jaret McKinstry

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, Castillo, and Cormac McCarthy have dealt with the geographical diversity and multi-ethnic history of the West. Films will include The Searchers, The Ballad of Gregorio Cortez, McCabe and Mrs. Miller, and Unforgiven. English Group IV. 6 credits, AL.
Fall -- M. Kowalewski

Cross-listed with AMST 332. An intensive study of the novels and short fiction of William Faulkner, Ernest Hemingway, and F. Scott Fitzgerald. The course will focus on the experimentation ethos and "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. Group IV. 6 credits, AL.
Not offered in 2008-09.

This course focuses on significant works by Native American writers from the 1970's to the present with an added emphasis on critical history and cultural studies. The readings vary in genre, style, and subject matter, and include the writings/performances of Sherman Alexie, Leslie Silko, and Spiderwoman Theater. Alongside this study of primary texts, we will consider the various ways in which critics have conceived the Native American literary tradition and participate in the debates that emerge. Finally, the literature will be placed in key cultural contexts of the American Indian Movement, popular representations of Native Americans, and reservation life.
Fall -- S. Lee

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, Bartheleme, and Delillo. Group IV. 6 credits, AL.
Not offered in 2008-09.

In Heart of Darkness Marlow notes, “The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only.” In this class we will explore both the ways in which this “idea” has been written about in European fictions about empire, and some responses to it from those on the receiving end. In particular, we will probe the ways in which the cultural identity of both the colonizer and the colonized are created, staged and written under colonialism and its aftermath. Writers we will read will include Kipling, Conrad, Forster, Achebe, Rushdie, Naipaul, Cliff, Kincaid, Rao, and Ngugi. We will also encounter some of the prominent theorists of postcolonial studies. Group IV. 6 credits, AL.
Winter—A. Chakladar

Studies in poetry written in English since 1945. Group IV. 6 credits, AL.
Not offered in 2008-09.

In-depth examination of the major Latino/a poets from the 1960s to the present, including Julia Alvarez, Lorna Dee Cervantes, Sandra Cisneros, Sandra Maria Esteves, Carolina Hospital, Tato Laviera, Pedro Pietri, Alberto Rios, and Gary Soto. We will examine the particular historical moments that enabled their voices to emerge and situate their styles and themes within the broader contexts of American literature and Latino studies. Group IV. 6 credits, AL.
Not offered in 2008-09.

“Does the world really present itself to perception in the form of well-made stories?” asks Hayden White (historiographer). To try to answer that question, we will read contemporary narrative theory and analyze various literary texts and films. This course fulfills the advanced/senior seminar requirement. Prerequisite: English 200. 6 credits, AL.
Fall -- S. Jaret McKinstry

An advanced course in the writing of fiction. Students are expected to write brief critiques of each story written by their classmates. Students must submit a story to the English Department Office prior to spring term registration. Final enrollment is based on the quality of the submitted work. May be repeated for credit. 6 credits, S/CR/NC, ND.
Spring -- B. Sonnenberg

For students with some experience in writing poetry. We will take a workshop approach that develops the individual poet’s craft and vision. Readings and exercises will be used to explore the poet’s individual range and expand ideas about what poetic language can do. The goal of this course is for each poet to create a sequence of eight poems unified by technique, subject matter, form, or sensibility as well as eight experimental poems. A group public reading will be scheduled. Students must submit three poems to the English Department Office prior to registration. Final enrollment is based on the quality of the submitted work. 6 credits, S/CR/NC, AL.
Not offered in 2008-09.

The course will center on the neglected genre of the essay. We will read and discuss historical and contemporary British essayists for an understanding of rhetoric and aesthetics, for insight into London and as models for writing. Each student will write a series of creative nonfiction essays based on cultural artifacts and sites from various periods in London’s history, including the present. These may include portraits from the Tate Gallery, sculpture from the British Museum, churches by Christopher Wren, manuscripts from the British Library, pubs, clubs (both of the old-fashioned gentlemen’s and the dance variety!) and Harrods department store. In the tradition of the essay, the writing for this course will combine personal and critical perspectives. Through workshops and revision, each writer will learn strategies for effectively establishing his or her own voice in order to confront the vast tableaux of history with confidence.
Winter—G. Hewett

We will put on our explorer's gear, make sure our dues are paid up to the Society for the Propagation of the Irreal, and venture into the magical worlds of Vladimir Nabokov, the greatest novelist of the second half of the twentieth-century (the Chair will entertain objections only from Señor Garcia Marquez). We will lovingly pet the fauna of the Russian novels, inhale the exotic flora of the American novels, and fly from Terra to Antiterra where accommodations for fifteen intrepid souls have been booked at The Enchanted Hunters. Group IV. 6 credits, AL.
Fall -- G. Smith

Focusing on major fiction of Henry James and Edith Wharton, we will also read criticism to learn a bit about their lives and literary friendship and to examine the ways they use American and international materials to explore human relationships, gender and national identities, the intersections of economic and social structures, and the nature of human consciousness.6 credits, AL, Senior Seminar or Group III for English majors.
Winter – E. McKinsey

A study of the elements of comedy--lot, character, dialogue, wit, and humor--in British comic plays, novels, and films. Authors will include Shakespeare, Congreve, Austen, Wilde, and Stoppard. 6 credits, AL, Senior Seminar, No group for English majors.
Spring — C. Walker

Senior English majors may fulfill the integrative exercise either by taking a comprehensive examination based on a departmental reading list, or by writing a senior thesis on a topic approved by the department. The topic must be convincingly defined before the end of fall term, a substantial portion must be written by the middle of winter term, and the final draft must be submitted by the due date early in spring term. Those who choose the exam option should form groups to discuss the texts on the reading list.
The six-hour exam will be given early in the spring term. No student may change from the paper to the exam option later than the deadline established by the department (one week after the winter term portion is due). Seniors may register for the integrative exercise as a Winter Term course or a Spring Term course, according to their individual requirements. The grade will be registered at the end of spring term. Juniors should not register for the integrative exercise without the permission of the English Chair. 6 credits, S/NC, ND.
Registration: Winter and Spring -- Essay Option, P. Balaam & T. Raylor; Exam Option, A. Estill & P. Hecker