Please be advised that the Montana University System is moving toward common numbering for all courses at all public institutions in Montana. The prefixes for many courses have changed as part of this conversion. For example, all ENLT courses are now known as LIT courses. For more information, please visit New Course Numbers.
For more information, please see The Catalogue.
CREATIVE WRITING - CRWR (formerly ENCR) – SEARCH OFFERED CLASSES!
CRWR 210 - Introduction to Creative Writing: Fiction
Offered every term. An introductory writing workshop focused on the reading, discussion, and revision of students' short fiction. Students will also be introduced to models of fiction techniques. No prior experience in writing short fiction required.
Acquire foundational skills in reading, discussing and writing short fiction
Demonstrate an understanding of the terminology and concepts that apply to fiction
Practice the art of writing and revising short fiction
Learn to critique the quality of one’s own work and that of fellow students
CRWR 211 - Introduction to Creative Writing: Poetry
Offered every term. An introductory writing workshop focused on the reading, discussion, and revision of students' poems. Students also will be introduced to models of poetic techniques. No prior experience in writing poetry required.
Acquire foundational skills in reading, discussing and writing poetry
Demonstrate an understanding of the terminology and concepts that apply to poetry
Practice the art of writing and revising poetry
Learn to critique the quality of one’s own work and that of fellow students
CRWR 212 - Introduction to Creative Writing: Nonfiction
Offered every semester. Study of the art of nonfiction through reading and responding to contemporary nonfiction and the writing of original nonfiction works. Focus is on creative expression, writing technique and nonfiction forms. Students begin with writing exercises and brief essays, advancing to longer forms as the semester progresses.
Acquire foundational skills in reading, discussing and writing essays
Demonstrate an understanding of the terminology and concepts that apply to creative nonfiction
Practice the art of writing and revising nonfiction works
Learn to critique the quality of their one’s work and that of fellow students
CRWR 295L - Young Adult Literature - Erin Saldin
This course will focus on the craft of writing literature for young adults. Students will identify the foundations of YA lit through readings, discussion, and writing exercises, and will begin to create their own works of fiction for a teen audience. Focus will be on the complexity of writing for young adults, and will include reading works by John Green and Ellen Hopkins, as well as others. Much of the course will follow a traditional workshop schedule, to allow students the most time to hone their craft.
CRWR 411 - Advanced Poetry Workshop - Joanna Klink
This is an advanced workshop devoted to critical analysis and revision of poems. We will discuss student work in light of practical issues (craft), and in light of central concerns in poetics, with particular emphasis on the relationship between voice and description. Some memorization may be required.
CRWR 412 - Advanced Nonfiction Workshop - Sherwin Bitsui
This fast-paced advanced nonfiction class will feature assigned reading, film screenings and group discussions, in addition to review of students' original essays in a workshop setting. Students will read published nonfiction writers as models for their own work, and practice reading their peers’ work with authority, compassion, and insight. The class will explore the lyric essay, a form of nonfiction that borrows techniques from poetry - image, diction, pacing and rhythm - to create short, compressed works. Some primary ideas we will explore include the complex role that “place” plays in our lives, the ways that it can shape us, and the link between place and origin. We’ll examine how place becomes a character in our stories, both as part of our ‘western’ or regional identity, and as part of our personal identity.
CRWR 511 - Poetry Workshop - Joanna Klink
This is an advanced workshop devoted to critical analysis and revision of poems. We will discuss student work in light of practical issues (craft), and in light of central concerns in poetics, with particular emphasis on the relationship between voice and description. Some memorization may be required. Limited to graduate students in the M.F.A. program.
CRWR 516 - Chinese Poetry in Translation - Greg Pape
Chinese Poetry in Translation: readings in English translations of poems from the Shih Ching (Book of Songs or Book of Odes) to the contemporary poems of Bei Dao. The class will be primarily a reading and discussion class, but students will be asked to write and translate poems, with the help of other English versions, so there will be a workshop component as well. We will read and discuss key figures in the Chinese poetic tradition, which, as David Hinton says, “ is the largest and longest continuous tradition in world literature, practiced until recently by virtually everyone in the educated class and stretching from well before 1500 B. C. E. to the present.”
ENGLISH TEACHING - ENT – SEARCH OFFERED CLASSES!
EXPOSITORY WRITING – WRIT (formerly ENEX)
– SEARCH OFFERED CLASSES!
COMPOSITION: During autumn semester, WRIT 101 is restricted to students whose last names begin with the letters A-L. During spring semester, WRIT 101 is restricted to students whose last names begin with the letters M-Z.
WRIT 101 - College Writing I (Prereq: ENEX 100/WTS 100/WTS 100D/WRIT 095D completion, proof of appropriate SAT/ACT essay, combined English/writing, writing section scores, appropriate MUSWA scores, or proof of passing scores on Writing Placement Exam)
Expository prose and research paper; emphasis on structure, argument, development of ideas, clarity, style, and diction. Students expected to write without major faults in grammar or usage.
WRIT 201 - College Writing II (Prereq: WRIT 101, Lower-Division Writing Course)
In this course, we will be studying the essay as the truly ubiquitous genre it is. It could be argued that the essay is the most prevalent genre of writing present in contemporary American culture since this broad category includes things like academic essays, editorials, blogs, travel journals, and sports writing, to name a few. Our study this semester will focus on the way arguments are made, and you will have the opportunity to study arguments as a reader and enact those practices as a writer.
Much of your work in this class will involve different kinds of collaboration, including small group workshops and discussions that will take place in class. Because writing development is an important process that takes place over time an across different writing situations, all WRIT 201 classes use portfolio evaluation as a primary means of evaluation. By the end of the semester you should be able to accurately and subtly assess a given rhetorical situation and make effective rhetorical choices based your assessment. And you should be able to write a graceful, convincing, beautifully written argument.
FILM STUDIES – FILM (Formerly ENFM) – SEARCH OFFERED CLASSES!
IRISH STUDIES PROGRAM – ENIR – SEARCH OFFERED CLASSES!
LITERATURE – LIT (formerly ENLT) – SEARCH OFFERED CLASSES!
LIT 201 - Introduction to Literary Studies - Rob Browning
LIT 201 is an introduction to the English major and the discipline of literary studies more broadly. The aim of this course is for each participant to become a more perceptive reader of literature in the genres of poetry, drama, and prose fiction. While we will study a small selection of works from these three genres, this course is designed chiefly to help students acquire and practice the transferable skills one needs to read and write about literary works, of any sort, beyond the scope of this particular course. This course will familiarize students with the conventions of and expectations for writing about literature at the college level. Required Texts: Jane Hirshfield, Nine Gates: Entering the Mind of Poetry (Harper, 1998); Margaret Edson, Wit (Faber, 1999); William Shakespeare, A Midsummer Night’s Dream (Penguin, 2000); Flannery O’Connor, A Good Man is Hard to Find and Other Stories (Harcourt, 1977); Margaret Atwood, Oryx and Crake (Anchor, 2004).
LIT 220L - British Literature: Medieval through Early Modern - Dr. Ashby Kinch (Mark Triana, Teaching Assistant)
Office: LA 126; Phone: 243-4462; E-mail: email@example.com
Required Texts (*Required possession for all English majors)
This Syllabus: Read it thoroughly the first day and bring it to class every day!
The Norton Anthology of English Literature, Vol. 1. 8th Edition, eds. Abrams, Greenblatt, et al. (Norton 2006)
*Hacker, Diane. A Pocket Style Manual. (Bedford/St. Martin’s, 5th ed. 2008; any edition will do)
Moodle Course Supplement: accessible at http://umonline.umt.edu/
This survey intends to provide students with a historical, cultural, linguistic, and intellectual framework for understanding the literature produced in Britain between the 8th century, when Anglo-Saxon culture produced its first major literary texts, and the 17th century, when citizens of a modern British state published texts in a wide range of literary genres for a rapidly-expanding public readership. To address such a wide cultural span in such a short space of time - just under a century per week, on average - is a Herculean task. But this kind of survey creates an invaluable context for your future reading, which will augment, amplify, and complicate the narrative of this class. There will be two parts to this course, The Middle Ages and the Renaissance/Early Modern, and each of these broad periods can be understood as having distinct sub-parts: Anglo-Saxon (8th-11th centuries), Anglo-Norman (12-14th), late medieval (14th-15th centuries), the Renaissance (16th century) and the Early Modern Period (17th century, through the Restoration). The course will introduce you to specific literary and cultural problems, which you will then address in greater detail in class discussion, group discussion, quizzes, and short writing assignments. Students will be expected to: master some basic vocabulary for literary analysis (the Department’s list of literary terms, drawn from The Bedford Glossary); develop their skills in close reading of poetry; and read both broadly and deeply in the history of British literature. You will be introduced to major conceptual and theoretical problems relevant to the study of literary history that you will develop further in your undergraduate career: the interpretive impact of historical and cultural context on reading literature, the role of national identity in the formation of a literary canon, and the role of gender relations in the production and interpretation of literary texts.
Course Requirements (further detail provided in “Work Requirements” document)
In-class Quizzes/Online Exams: 20%
Online Response Papers: 2-3 pp., 20% (5 x 20 points each = 100 points for the semester)
Analytical Papers: 4-6 pp. (2 x 20% each)
Takehome Final: 20% (8-10 pp.; posted online the day scheduled for the exam)
LIT 221 - British Literature: Enlightenment to Romantics - Rob Browning
This course surveys the rich variety of British literature composed between 1660 and 1830, beginning with selections from John Milton’s epic Paradise Lost and concluding with Mary Shelley's novel Frankenstein. Romantic authors such as Blake, Barbauld, Wordsworth, Coleridge, and the Shelleys thought of themselves as kindred spirits with Milton, sharing a vision for imaginative writing and cultural change inspired by the political revolutions of their respective times. Between these visionary "peaks" of early-modern literature is the movement known as "the Enlightenment," a period of mounting optimism about the power of reason to advance knowledge in science and philosophy, to reform religion, and to promote social justice. The core of this course will be our examination of the different ways creative authors engage with the promises of Enlightenment ideals, which will involve thinking about the cultural workings of different literary kinds: chiefly, heroic verse, satire, the novel, and the lyric. Our main critical approach, therefore, shall be to study aesthetic forms within the context of the time they were composed. Required Texts: The Norton Anthology of English Literature, volumes C and D; John Milton, Paradise Lost (any edition); William Wycherley, The Country Wife (U. of Nebraska P.); Mary Shelley, Frankenstein (Norton Critical Edition).
LIT 222 - British Literature: Victorian to Contemporary - Eric Reimer
As an introduction to British literature and a gateway to more specialized study within this field, this course will survey a broad range of poets, novelists, dramatists, and essayists; as it does so, students will become acquainted with the significant characteristics of some of the major British literary-historical periods (Romantic, Victorian, Modern, Contemporary). Thus, in addition to practicing close reading of individual texts, we will discuss the social, historical, and political contexts of the authors and their works, as well as attend to matters of genre, form, and literary tradition. Although there is no thematic organization for the course, we will, throughout the semester, be considering the changing notions of self, language, and nation, especially as they are pressured by nature, religion, science, and historical trauma. Students will write critical essays, work closely with poetic form, and sharpen their research skills; everything, though, will begin with (and depend upon) committed and energetic reading of the assigned texts. Readings will be drawn from the Norton Anthology of English Literature and will be supplemented by at least one novel.
LIT 300 - Applied Literary Criticism - David Gilcrest
LIT 300 introduces the student to the diverse conversations of literary criticism. We will be reading a range of critics and theorists as we strive to understand the principles and practices that inform key approaches to the literary text. While this is not a course in the history of literary criticism, we will work to situate contemporary perspectives and positions within an adequately historical frame of reference. The ultimate goal of our inquiry will be to broaden and deepen our awareness of both literature and its readers.
Literary Theory: An Anthology. 2nd ed. Eds. Julie Rivkin and Michael Ryan
The Yellow Wallpaper. Charlotte Perkins Gilman
The Fall of the House of Usher and Other Tales. Edgar Allan Poe
Frankenstein. Mary Wollstonecraft Shelley
LIT 301 - Studies in Literary Forms: The Novella - Brady Harrison
If, as Randall Jarrett famously remarked, a “novel is a prose narrative of some length that has something wrong with it,” and if, as some readers protest, short stories simply cannot offer the richness and complexities of longer works, then what could be more perfect than the novella, that rare, gem-like form somewhere-in-between? Despite being somewhat a literary stepchild, the novella in recent years has been enjoying something of a popular resurgence. Building on this renewed interest in a liminal, yet sometimes astonishing form, LIT 301 explores a limited number of exemplary works from the tradition of the novella and sets them in their historical, cultural, and especially literary contexts.
Reading List (Subject to Revision!)
Abani, Chris. Song for Night. (Akashic.)
Conrad, Joseph. Heart of Darkness 2nd Ed. (Bedford/St. Martin’s.)
Fitzgerald, Penelope. Offshore. (Mariner.)
Kafka, Franz. Kafka: The Complete Stories. (Schocken.)
Maclean, Norman. A River Runs Through It. (Chicago.)
Melville, Herman. Billy Budd, Sailor and Selected Tales. (Oxford World’s Classics.)
Oates, Joyce Carol. Beasts. (Carroll and Graf.)
Ondaatje, Michael. Coming Through Slaughter. (Vintage.)
Rulfo, Juan. Pedro PÃ¡ramo. (Grove.)
Simenon, Georges. The Widow. (nyrb.)
Watson, Sheila. The Double Hook. (M&S.)
Wharton, Edith. Ethan Frome. (Broadview.)
Woolf, Virginia. Jacob’s Room. (Melville House.)
LIT 304 - US Writers of Color - Quan Ha
In LIT 304, you will study selected literary texts written by underrepresented authors from various cultural, racial, and ethnic backgrounds. The main purpose of the course is to expose you to the diversity of voices in 20th-century and contemporary American literature. You will study all four major genres: fiction (short story & novel), poetry, drama, and nonfiction.
A Multicultural Anthology of American Short Fiction
Wesley Brown and Amy Ling, eds. Imagining America. Persea Books, 2002. ISBN: 978-089255-277-1
W.E.B. Du Bois. Dark Princess. U of Mississippi P, 1995. ISBN: 978-0878-057658.
August Wilson. The Piano Lesson. Plume, 1990. ISBN: 978-0452265349
Lac Su. I Love Yous Are For White People. Harper Perennial, 2009. ISBN: 978-006-154-3661.
Chay Yew, Porcelain and a Language of Their Own: Two Plays. Grove Press, 1997. ISBN: 978-0802135001.
Lanino/a and Chicano/a
Esmeralda Santiago. When I Was Puerto Rican. Da Capo Press, 2006. ISBN: 978-0306814525
Helena Maria Viramontes’s Under the Feet of Jesus. Plume, 1995. ISBN: 978-0452273870
Gustavo Perez Firmat. Next Year in Cuba: A Cubano's Coming-Of-Age in America. Arte Publico Press, 2006. ISBN: 978-1558854611
LIT 379L - Gender and Sexuality in Twentieth-Century Fiction - Dr. Ruth Vanita
same as LSH 327L
Fulfills Gen Ed Literary & Artistic Studies requirement
Read wonderful novels and short stories by major writers of the twentieth century, men and women, American, British, Indian, South African. Explore their imaginative approaches to the age-old issues of love, sex, marriage, androgyny, and the new concerns of the modern world â€“ masculinity, femininity, heterosexuality, homosexuality, bisexuality, transgender and transsexuality. Discuss how they illuminate relationships in the family, the church, the university, and the workplace.
LIT 391 - Special Topics: The Beat Generation - David Gilcrest
This course addresses the emergence of Beat writers as a countercultural literary force in post-WWII America. While our focus will be on major Beat authors, including especially Jack Kerouac, William S. Burroughs, Allen Ginsberg, and Gary Snyder, we will also consider carefully other authors who contributed significantly to the Beat legacy. Our inquiry will necessarily encompass varieties of Beat poetics, the politics of the body, gender, sexuality, and consciousness.
Tentative Reading List:
Kerouac - On the Road, The Dharma Bums
Burroughs - Junky, Naked Lunch
Ginsberg - Collected Poems: 1947-1997
Snyder - Riprap and Cold Mountain Poems, Myths & Texts
McClure - Huge Dreams
Knight - Women of the Beat Generation
Charters - The Portable Beat Reader
LIT 420 - “Ecocriticism” - Louise Economides
During the 1990's, "ecocriticism" emerged as a new field of theory with the general goal of analyzing literary representations of nature, animals and humanity's relationship with the more-than-human world. Scholarship within British and American Romanticism was particularly critical to first-wave ecocriticism. Since then, a variety of new approaches have emerged to challenge the ideological investments of first-wave critique. We will study first-wave ecocriticism as well as ecofeminism, social ecology, deep ecology and postmodern ecology as second-wave developments. Along the way, we'll consider links between ecocriticism and earlier theory (such as feminism, Marxism and deconstructionism), as well as debates between different schools of eco-critique. We'll also explore the question of whether ecocriticism constitutes a coherent theoretical school (with a common foundational platform) and its usefulness as method for interpreting literary texts.
LIT 494 - Senior Seminar: The Art of Life - David Gilcrest
This seminar explores a range of texts that address, to one degree or another, the search for what the Greeks called eudaemonia, the Good (or Flourishing) Life. In these texts we discover the potential for mindful, intentional living - what Thoreau calls “The Art of Life” - as well as some of the many forces arrayed against its achievement. By virtue of our shared inquiry, senior students will focus on their own experience of transformative literature, in Kenneth Burke’s phrase, the capacity of literary texts to serve as “equipment for living” - helping us to live our lives consciously and, perhaps, creatively.
Tentative Reading List:
Epicurus - “Ethics and the Good Life”
Behn - The Rover
Thoreau - Walden
Chopin - The Awakening
Rilke - The Notebooks of Malte Laurids Brigge
Hurston - Their Eyes Were Watching God
Hesse - Narcissus and Goldmund
Steinbeck - The Grapes of Wrath
Norman - Divine Right’s Trip: A Novel of the Counterculture
Coupland - Generation X
Satrapi - Persepolis: The Story of a Childhood
LIT 521 - Multiethnic American Literatures - Quan Ha
In LIT 521, we will study a wide range of multiethnic voices and take a comparative approach to racial and ethnic issues in 20th-century and contemporary ethnic American literatures. We will examine how identity, gender, womanhood, queerness, cultural politics, racial stereotypes, diaspora, immigration, etc. function in various cultures. The selected readings cover four genres: drama, fiction, non-fiction, and poetry.
Tentative Reading List:
Richard Delgado and Jean Stefancic, Critical Race Theory
Du Bois’s Princess Darkness (novel)
Jessie Redmon Fauset, Plum Bun (novel)
Chay Yew, Porcelain and a Language of Their Own: Two Plays (drama)
David Henry Hwang, M. Butterfly (drama)
Lac Su, I Love Yous Are for White People (non-fiction/memoir)
Kitty Tsui, Breathless: Erotica + Words of a Woman Who Breathes Fire: Poetry and Prose
Helena Maria Viramontes, Under the Feet of Jesus (novel)
Richard Rodriguez, The Hunger of Memory: The Education of Richard Rodriguez (non-fiction/memoir)
Chaim Potok, The Chosen (novel)
Esmeralda Santiago, When I Was Puerto Rican: A Memoir
Piri Thomas, Down These Mean Streets (memoir)
Gustavo Perez Firmat, Next Year in Cuba: A Cubano’s Coming-of-Age in America (memoir)
Rita Ciresi, Sometimes I Dream in Italian (novel)
LIT 522 - Atlantic Passages - Eric Reimer
This course will investigate the Atlantic Ocean as a circulatory system traversed by bodies, goods, texts, and ideas. A prelude of sorts will find us reading early modern and Renaissance texts - e.g., Columbus’s journals, Shakespeare’s The Tempest, Montaigne’s essays - as a way of assessing European models of understanding the “New World” and considering how future identity possibilities in the West Indies and the Americas are in some sense scripted. Having established what we might call a “new world poetics,” we will then examine a range of texts (literary, non-literary, visual, musical, etc.) that (1) carry various appeals to ancestral memory, confrontations with historical trauma, invocations of an Adamic imagination, promises of cross-cultural relations, etc.; and (2) collectively posit the Atlantic as a transnational space that is at once treacherous and emancipative. The course’s historical contexts will include the age of discovery, the slave trade and the Middle Passage, Irish immigration and famine, European colonial histories of settlement, the Windrush generation and postcolonial British identity, African American and contemporary Caribbean history, diasporic roots and routes, etc.
Primary texts will likely include The Tempest (Shakespeare, 1611), Cuban Counterpoint (Fernando Ortiz, 1940), Wide Sargasso Sea (Jean Rhys, 1966), The Lonely Londoners (Sam Selvon, 1956), No Telephone to Heaven (Michelle Cliff, 1987), A Small Place (Jamaica Kincaid, 1988), Crossing the River (Caryl Phillips, 1995), Omeros (Derek Walcott, 1990), Solibo Magnificent (Patrick Chamoiseau, 1988), Praisesong for the Widow (Paule Marshall, 1984), and Star of the Sea (Joseph O'Connor, 2004), as well as one feature-length film (to be announced).
Secondary texts may include essays by Montaigne, Jose Piedra, Derek Walcott, Edouard Glissant, Jose Marti, Paul Gilroy, James Clifford, Homi Bhabha, Caren Kaplan, Sydney Mintz, Cynthia Enloe, and others.
LIT 522 - Whales & Shaggy Dogs, Among Others: The Anatomists - Brady Harrison
LIT 522 explores fictions that reach for, trouble, ironize, or otherwise grapple with the limits (if there are any) of the novel as a literary form. Not content with telling stories, writers such as Sterne, Melville, O’Brien, and others, building upon some of the greatest traditions in world literature, tell stories within stories, mix genres, parody storytelling, seemingly lose control of both their characters and their narratives, and otherwise see how far they can push (or break?) the bounds of setting, plot, character, point of view, and more. Menippeans, anatomists, fabulists, satirists, jokesters, and keen dissectors of the mind, they mock, digress, play games, lose track, lie, and otherwise try everything they can think of; at the same time, not content with mere gamespersonship, they dive as deeply as they can into the imagination and the sometimes dark, even furious realms of motivation and desire. While some of these strategies and concerns perhaps became commonplace among the postmoderns, our course engages a far deeper tradition of searching or self-conscious (or perhaps fortuitous) artists from ancient Greece to the Modern era.
TEXTS (Subject to revision!)
Bronte, Emily. Wuthering Heights. (Broadview Edition.)
Burton, Robert. The Essential Anatomy of Melancholy. (Dover.)
Diderot, Denis. Jacques the Fatalist. (Oxford.)
Eco, Umberto. from The Infinity of Lists. (Rizzoli.)
Frye, Northrop. from Anatomy of Criticism. (Princeton.)
Flaubert, Gustav. Bouvard and Pecuchet. (Dalkey.)
Lucian. Selected Satires of Lucian. (Norton.)
Melville, Herman. Moby-Dick. (Penguin Classics.)
O’Brien, Flann. At Swim-Two-Birds. (Dalkey Archive.)
Sebald, W.G. The Rings of Saturn. (New Directions.)
Stein, Gertrude. A Novel of Thank You. (Dalkey.)
Sterne, Laurence. Tristram Shandy. (Norton Critical Edition.)
Woolf, Virginia. Orlando. (Harvest Books Annotated Edition.)
LIT 524 - “Ecology and the Aesthetics of De-familiarization” - Louise Economides
In this seminar, we will investigate the importance of de-familiarization in art from the romantic period to the present, and consider the ecological implications of such dis-locations. Some of the aesthetics we will explore include wonder, the sublime, the gothic, fragmentation, shock-value, pastiche and hyperreality. We will consider the question of whether art can still de-familiarize and/or radically alter our perception at a moment when quotidian “normalcy” appears to be increasingly unavailable. Can great art still shock us out of a state of complacency? What are the benefits and drawbacks of art that radically “de-naturalizes” our understanding of the more-than-human world? The seminar will draw upon recent theoretical work in the fields of eco-phenomenology, queer ecology and eco-poetics.