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Course Descriptions
ENCR - Creative Writing | ENEX - Expository Writing |
ENLT - Literature | ENT - English Teaching |
Archives: Spring 2005 | Fall 2005 | Spring 2006 | Fall 2006
Section 1-TR-11:10-12:30p-Staff
Section 2-TR-9:40-11:00a-Robert Stubblefield
Section 3-TR-12:40-2:00p-Staff (Open to Majors in ENGL PREN)
Section 4-MWF-12:10-1:00p-Staff
An introductory writing workshop focused on the reading, discussion, and revision of students' short fiction. Students will also be introduced o models of fiction techniques. No prior experience in writing short fiction required.
211A-3crs-Introduction to Creative Writing: Poetry
Section 1-TR-9:40-11a-Staff (Open to Majors in ENGL PREN)
Section 2-TR-11:10-12:30p-Staff
Section 3-TR-2:10-3:30p-Staff
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.
310A-3crs-Creative Writing: Fiction (Consent of instructor required)
Section 1-TR-2:10-3:30p-Kate Gadbow
Section 2-TR-3:40-5:00p-Kevin Canty
An intermediate fiction writing workshop. Students will be expected to finish three to four substantial stories for the course. Although some outside material will be considered, the primary emphasis will be analysis and discussion of student work. Students are expected to have done promising work in ENCR 210A.
311-3crs-Creative Writing: Poetry (Consent of instructor required)
Section 1-TR-12:40-2:00p-Greg Pape
This is a writing workshop in which the primary texts are the student's works-in-progress. The course will involve critical analysis of students' poems, as well as reading and discussion of poems in an anthology. There will be a number of directed writing assignments, experiments, and exercises. Texts: The Poet's Companion< Addonizio & Laux, eds; The Triggering Town, Richard Hugo (recommended); The Vintage Book of Contemporary World Poetry, J.D. McClatchy, ed. (recommended).
395-3crs-Special Topics: Prosody (Consent of instructor required)
Section 1-TR-2:10-3:30p-Karen Volkman
This undergraduate poetry workshop focuses on reading and poetic experiments drawn from three revolutionary early 20th century avant-garde movements: Futurism, Dada, and Surrealism. We will read manifestoes, poetry, lyrical prose, and genre-bending writings from leading practitioners including Marinetti, Khlebnikov, Mayakovsky, Tzara, Breton, Aragon, Cesaire, and others. Enrollment based on manuscript submission and instructor approval.
410-3crs-Advanced Creative Writing: Fiction (Consent of instructor required)
Section 1-R-3:40-6:30p-Deirdre McNamer
A course for upper-level undergraduates with emphasis on workshop discussions of student work. Core requirements: Two stories; two rewrites of one of those stories.
411-3crs-Advanced Creative Writing: Poetry (Consent of instructor required)
Section 1-R-3:40-6:30p-Joanna Klink
This is an intermediate poetry workshop involving critical analysis of student work as well as reading and discussion of poems by established poets. On a weekly basis, we will examine students' poems and the practical issues in poetics (descriptive language, syntax, diction, etc.) they bring to light. Revision will be central to the class; some memorization may be required.
412-3crs-Creative Non-Fiction (Consent of Instructor Required)
Section 1-TR-12:40-2p-Staff
496-1-3crs-Independent Study (Consent of instructor and department chair required)
510-3crs-Fiction Workshop (Consent of instructor required)
Section 1-W-3:10-6:00p-Kevin Canty
Section 2-T-3:40-6:30p-Debra Earling
This is a fiction-writing workshop for MFA graduate students, with primary emphasis on the short story. We will devote considerable attention to the process of revision. Participants will contribute written critiques of the work discussed in class.
511-3crs-Poetry Workshop (Consent of instructor required)
Section 1-W-3:10-6:00p- Karen Volkman
Section 2-W-3:10-6:00p-Michele Glazer (Hugo Visiting Writer)
512-3crs-Nonfiction Workshop (Consent of instructor required)
Section 1-T-3:40-6:30p-Deirdre McNamer
A workshop for graduate students in the writing of literary nonfiction. Published essays, memoirs, profiles and other forms of fact-launched narrative will be discussed in class, but primary attention will be given to student work. Core requirements: two substantial essays (loosely defined) and a rewrite of one of them.
514-3crs-Techniques of Modern Fiction (Consent of Instructor Required)
Section 1-R-3:40-6:30p-Debra Earling
515-3crs-Traditional Prosody (Consent of Instructor Required)
Section 1-T-3:40-6:30pm-Greg Pape
In this course we will study prosody through example, experiments, and analysis. I will give assignments that focus on some aspects of prosody or form, and you will write your best within the limitations of the assignment. The goal of the course is to learn about traditional prosody (which includes free verse) and craft while writing the best poems you can. We will read and discuss in workshop the results of the assignments, as well as traditional and contemporary models. Texts: The Making of a Poem, Boland & Strand; Rules for the Dance, Mary Oliver; The Prosody Handbook, Beum & Shapiro.
516-3crs-Topics in Creative Writing (Consent of Instructor Required)
Section 1-T-3:40-6:30p- Joanna Klink
In this course we will examine topics in the history of poetics related to description. What is an image? What is an "exactly perceived" detail? How can a phrase carry sense- information? What sort of authority do poets draw from accurate descriptive language? What is the relationship between description and ritual action in a poem? To better understand the range of expressive possibilities (and technical strategies) involved in description, we will devote a good part of the semester to reading, imitating, and otherwise inhabiting the acute sensory visions of Gerard Manley Hopkins' Journals, Rilke's Letters on Cézanne, Pascalle Monnier's Bayart, essays by John Berger and Elaine Scarry, poems by Basho, Issa, Li Po, Tu Fu, W.C. Williams, Elisabeth Bishop, Theodore Roethke, A.R. Ammons, and various contemporary poets.REQUIRED TEXTS: Robert Hass, The Essential Haiku; Rainer Maria Rilke, Letters on Cézanne; Elizabeth Bishop, The Complete Poems, 1927-1979; Pascalle Monnier, Bayart.
Section 2-R-3:40-6:30-Michele Glazer (Hugo Visiting Writer)
Collaboration's Creative Influence: In this class we will investigate creative collaborations between writers and people doing creative work in other fields, which may include the visual arts, dance, architecture, music, and any of the sciences. The idea is to learn more about the creative process, but most importantly, to open up possibilities in your own work, new ways of thinking about what you are doing, and new approaches to your writing.
I'll supply some of the reading and other materials, which will include examples of ekphrasis, (a term that goes back to antiquity and means making verbal representations of visual representations), and possibly a film about the sculptor Andrew Goldsworthy, whose art includes the use of natural objects and actively engages "accident."
Students will take the lead; each person will be expected to research a past or current collaboration of his or her own choosing, then present to the class what was interesting and fruitful about the collaboration and lead the day's discussion. Some examples of rich collaborations are the Dadaists, Picasso/Stein, and the Bioglyphs, an" art and science collaboration" recently on exhibit at Montana State University. There will be no papers. Instead there will be brief writing exercises that emphasize process over product and are designed to be useful to prose and poetry writers.
This class is open to poets and prose writers in the MFA program. All other students should submit a writing sample and a paragraph or two describing their interest in the class.
599-1-12crs-Thesis-ARRANGE-Staff
NOTE: During the autumn semester, ENEX 101 is restricted to students whose last name begins with the letters A-L. During the spring semester, ENEX 101 is restricted to students whose last name begins with the letters M-Z.
100-2crs-Basic Composition (Prereq,, minus score on Writing Placement Exam or referral by ENEX 101 instructor.)
Section 1-TR-8:10-9:00a-Staff
Section 2-TR-10:10-11:00a-Staff
Section 3-TR-1:10-2:00p-Staff
Section 4-TR-12:10-1:00p-Staff
Section 5-TR-11:10-12:00p-Staff
Section 6-TR-11:10-12:00p-Staff
Section 7-TR-2:10-3:00p-Staff
Section 8-TR-7:10-8:00p-Staff
Section 9-MW-11:10-12:00p-Staff
Section 10-MWF-9:10-10a-Staff
101-3crs-English Composition (Prereq., ENEX 100, or proof of passing score on Writing Placement Exam, or referral by ENEX 100 instructor.)
Section 1-MWF-8:10-9:00a-Staff
Section 2-MWF-9:10-10:00a-O'Brien (Coreq: LA 180 and COMM 195)
Section 3-MWF-9:10-10:00a-Staff
Section 4-MWF-10:10-11:00a-Staff
Section 5-MWF-10:10-11:00a-Staff
Section 6-MWF-10:10-11:00a-Staff
Section 7-MWF-11:10-12:00a-Staff
Section 8-MWF-11:10-12:00p-Stubblefield
Section 9-MWF-12:10-1:00p-Staff
Section 10-MWF-1:10-2:00p-Staff
Section 11-MWF-1:10-2:00p-Staff
Section 12-MWF-2:10-3:00p-Staff
Section 13-MWF-2:10-3:00p-Staff
Section 14-MWF-2:10-3:00p-Staff
Section 15-MW-7:10-8:30p-Staff
Section 16-TR-8:10-9:30p-Staff
Section 17-TR-2:10-3:30p-Staff
Section 18-MWF-9:10-10:00aStaff
Section 19-TR-9:40-11:00a-Staff
Section 20-MWF-2:10-3:00a-Staff
Section 21-TR-11:10-12:30p-Staff
Section 22-MWF-12:10-1:00p-Staff
Section 23-TR 11:10-12:30p-Staff
Section 24-TR-12:40-2:00p-Staff
Section 25-TR-12:40-2:00p-Staff
Section 26-TR-2:10-3:30p-Staff
Section 27-TR-2:10-3:00p-Staff
Section 28-TR-3:40-5:00p-Staff
Section 29-MWF-12:10-1:00a-Staff
Section 30-MWF-9:10-10:00a-Staff
Section 31-MWF-12:10-1:00p-Staff
Section 32-MWF-9:10-10:00a-Staff
Section 33-MWF-2:10-3:00p-Staff
Section 34-MWF-1:10-2:00p-Staff
Section 35-MWF-12:10-1:00p-Staff
Section 80-TR-11:10-12:30p-Staff (HONORS) (Consent of Honors College Required)
195-3crs-Advanced Composition (Prereq., ENEX 101, Lower-Division Writing Course)
Section 1-Natural Sciences-TR-12:40-2:00p-Joseph Campana
This course examines the laws of the natural order and the principles of rhetoric in order to help students write compelling arguments on important issues such as evolution and global warming. We begin by studying the methods natural scientists use to ask and answer questions about the universe, making clear distinctions between scientific theories and other sorts of explanations of nature. How did the universe and life on Earth begin? How can human beings best interact with the land and the plants and animals with whom we share the planet? Is the earth heating up? These are important questions but we cannot begin to answer them until we agree on a method for conducting research, reading data, and sharing conclusions. Furthermore, we cannot argue intelligently through our disagreements over these ideas without learning how to argue. Here students will be invited into these exciting debates, given the opportunity to encounter data as a scientist might, and introduced to strategies for composing rhetorically-sound arguments. You do not need a background in the natural sciences to excel in this course.
Section 2-Art of the Essay-MWF-12:10-1:00p-Staff
This class treats the essay as a thought-provoking genre to read and to write. We¹ll explore the range of this genre, from the traditional academic essay to personal essays to essays that blur personal and academic writing. You'll have the opportunity to explore your relationships people, place, and society. We will explore complex cultural, social, and environmental issues in our world and the historical and contemporary role of the essay to inform, inspire, and delight. This course will enable you to become a more discerning and active reader and sharpen your ability to effectively communicate your thoughts and ideas through drafting, editing, and revision of the essay form.
Section 3-Health & Society-TR-2:10-3:30a-Michael Lukas
Whether we are aware of it or not, we are constantly bombarded by argumentation that addresses the issue of health in our society. It is not just debate about national health care or abortion that makes this evident, but the advertisements for pharmaceuticals we glance at while flipping through our magazine, the blockbuster summer disaster movies, the reality shows depicting be-muscled survivors and aspiring models. Being healthy in our society is about more than not being sick, indeed, health, in many ways, is a performance, an argument about what it is to be a functioning human being. In this way the topic of health and society allows us an entryway into how we argue for what is healthy and what aspects of health are important to us.
Section 4-Humanities-MWF-9:10-10:00a-Robert Stubblefield
In this class we will approach, encounter, and engage works of literature, film, and music. We will respond to both primary and critical works and texts. How do we develop an aesthetic for the art forms surrounding us? How (or why) do we justify what we enjoy, appreciate, and admire? We will focus on discovering and communicating our ideas and thoughts as effectively as possible in the form of focused, well-structured, and well-developed essays. The works we encounter will be challenging, provocative, and inspiring.
Section 5-Business & Economics-TR-11:10-12:30a-Amy Ratto-Parks
During the course of this semester you are going to learn how to sell things -- not shoes, or insurance - but your i deas and arguments. At first glance, the worlds of business and writing don't seem to have much in common, but they do: both of them are trying to sell something all the time. In this class you are going to learn to analyze arguments and create your own effective modes of argument. We will be reading a number of texts that ask questions about the relationship between business and our lives. How do advertisers create value for their products? How does the size of a business affect the community it surrounds? What kinds of ways have McDonalds, then Wal-Mart, changed the landscape of the business world? How have they changed the economic conditions of the neighborhoods they enter? Why should you care?
Section 6-Social Sciences-MWF-2:10-3:00p-Jill Beauchesne
Social science can be defined as the branch of science that studies society and the relationships of individuals within a society. Thus, at the heart of any discipline within social sciences is in-depth investigation into the analysis of the fabrics that comprise a society-such as shared culture, identity, values to name a few. Analyzing American society is especially difficult precisely because of the word "shared;" America is comprised of so many diverse cultures, identities, values that even Americans do not agree on what it means to be American or how American society should be organized on a political and social level. This course is designed to help you strengthen your analytical skills by challenging you to analyze the rhetorical strategies authors use to compose a variety of arguments about our culture.
496-1-3crs-Independent Study (Consent of instructor-class level Jr./Sr.)
Section 1-M-8:10-9:00a-Kathleen Ryan
540-1cr-Teaching College Level Composition (Restricted to ENEX 100/101 TAs)
Section 1-M-3:10-5:00p-Kate Ryan
Section 2-M-3:10-5:00p-Joseph Campana
120L-3crs-Introduction to Critical Interpretation (Writing course for Lower Division)
Section 1-MWF-11:10-12:00p-Morey
Section 2-MWF-12:10-1:00p-Morey
121L-3crs-Introduction to Poetry (Writing course for Lower Division)
Section 1-MWF-9:10-10:00a-Kinch
The Poetry of Life and the Life of Poetry: Geoffrey Chaucer was an official at the Customs Office. Thomas Wyatt was an ambassador. Wallace Stevens sold insurance. William Carlos Williams was a family doctor. Poetry has always hovered between "vocation" and "avocation" and many of us write poetry that we never share with others. Poetry, in other words, does not belong to a discipline or to a literary elite, but flows from a common source of human fascination with the power of well-shaped words to inspire, befuddle, enlighten, and transforms us. This course aims to act on this universal impulse to write and read poetry by encouraging students to think of poetry within the broadest possible context of human experience. We will invite members of the campus community, as well as members of the broader Missoula community, to join us in a discussion of the relevance of poetry to all aspects of human life. In doing so, we will be exploring poetry from a variety of perspectives, thinking of it as: an object o f human culture; an expression of social and political values; a record of the human fascination with nature; as the exploration of philosophical truths; a reflection of the personal, psychological struggles and insights of individual human beings. The poetry will range from ancient hymns to major monuments of the English tradition to poems from the contemporary world, including rap and contemporary music.
Course Requirements: 3 explication papers; weekly writing responses to lecture; an in-class writing exam; a class presentation.
Section 2-MWF-10:10-11:00a-Berninghausen
195-3crs-Special Topics Variable
Section 1-Elementary Irish Language-TR-4:10-5:30p- O'Riordain
222L-3crs-British Literature Through the 18th Century
Section 1-MWF-10:10-11:00a- J. Browning (Open to Majors in ENGL/PREN)
Section 80-MWF 11:10-12:00p-J. Browning-Honors (Consent of Honors College Required)
This course is a survey of works composed during the first millennium of English literary history. Beginning with Beowulf, we will read our way through a selection of literature representing the Middle Ages, the Renaissance (or early modern period, as we will sometimes consider this and the following two periods), and the seventeenth and eighteenth centuries. An important aim of the course will be to learn how the authors we read engage with and respond to the salient political, ecclesiastical, economic, and social conditions of their own times. Intrinsic to this project will be our study of the defining features of different literary genres (epic, lyric, discursive prose, drama, and novel) and modes (heroic, tragic, comedic, satiric, pastoral, and romance), and how authors used, adapted, or outright challenged these conventions. Required texts: The Norton Anthology of Literature, volumes A, B, and C; the Norton Critical Edition of Shakespeare's Hamlet.
223L-3crs-British Literature in the 19th and 20th Centuries (Writing course for Lower Division)
Section 1-TR-11:10-12:30p-Louise Economides (OPEN TO ENGL/PREN MAJORS ONLY)
Section 2-MWF-11:10-12:00-John Glendening
The goal of this course is to familiarize students with the history of British literature (authors, works, periods, and trends) from 1800 to W. W. I, helping them to place texts within their cultural and literary contexts and to comprehend, in general, the relationship between British literature and the shaping of the modern world. Students should gain understanding of relevant cultural issues (literacy, urbanism, class structure, capitalism, science, technology, religion, imperialism, and gender); of important literary movements (romanticism, realism, naturalism, aestheticism, and modernism); and of terms and concepts important for understanding literature. Midterm and final examinations will be given and three critical essays required. Most readings will be from an anthology, but the class will also read one or two novels.
Section 80-TR-12:40-2:00p-Louise Economides-Honors (Consent of Honors College Required)
224L-3crs-American Literature to 1865 (Writing course for Lower Division)
Section 1-MWF-11:10-12:00p-Christopher Knight (Open to Majors in ENGL PREN)
Section 2-MWF-2:10-3:00p-Tom Berninghausen
Section 80-MWF-10:10-11:00a-Christopher Knight-Honors (Consent of Honors College Required)
225L-3crs-American Literature Since 1865 (Writing course for Lower Division)
Section 1-MWF-11:10-12:00p-Lynn Itagaki (Open to Majors in ENGL PREN)
This course will examine a broad spectrum of important literary texts by U.S. writers after 1865. We will look at how these novelists, poets, playwrights, and essayists use literature to reflect and rework their contemporary historical and literary contexts. The course introduces students to reading the principal forms of literature ( poetry, prose, fiction, and drama) analytically. Strengthening knowledge of literary interpretation and analysis, this course will encourage students to examine what writers convey through their fictional works and how to analyze the ramifications and influence of these literary texts on their critical thinking.
Section 2-MWF-9:10-10a-Tom Berninghausen
Section 80-TR-8:10-9:30-Lynn Itagaki-Honors (Consent of Honors College Required)
227L-3crs-Film as Lit/Lit as Film (Same as LS 227-01)
Section 1-TR-3:40-5:30p-Phil Fandozzi
In this course we will study the relationship between literature and its filmic adaptations. We will discuss their respective strengths and weaknesses in terms of character development, narrative techniques, cognitive and emotional impact. Readings will include a short text on literature and film writing/reading approaches, and a number of novels/short stories which have been adapted into film.
301-3crs-Applied Literary Criticism (Writing course for Upper Division)
(Prereq or Coreq: 12 credits of lower-division ENLT courses)(Not Open to Majors in PREN)
Section 1-TR-8:10-9:30a-Michael McClintock
Section 2-MWF-11:10-12:00p-Katie Kane
In this introductory course in literary and cultural theory, we will attempt to explore representative schools of and issues in contemporary criticism. We will be working, therefore, to build an analytic and critical vocabulary for the activity of reading a variety of texts from the canons of literary criticism. However, in addition to this "first-principles" objective, we will also attempt to engage with such complexities of current theoretical debate as "the question of the author," the reconciliation of form and content, the agon of canon formation and canon busting, and, finally, with the crucial issues of race, class, gender, and sexuality. Throughout the course we will be moving toward our current early twenty-first century moment in which the range and scope of the labor of the literary critic seems-in light of the rise of a host of non-traditional representational and narrative forms-to be both expanding and contracting.
The course will also involve a practicum involving consideration of the variously incarnated cultural text of Frankenstein: Mary Shelley's novel, James Whale's films, Blade Runner's monsters, and other contemporary avatars. Required Texts: Richter, David. Falling Into Theory: Conflicting Views on Reading Literature; Wollstonecroft-Shelley. Frankenstein ( ed. Hunter); Whale, James. Frankenstein (VHS); Brooks, Mel. Young Frankenstein (VHS); Scott, Ridley. Blade Runner (VHS); Condon, Bill. Gods and Monsters (VHS).
Section 3-TR-12:40-2:00p-Eric Reimer
This course serves as a rigorous introduction to the critical "schools" and movements that have most influenced contemporary literary studies. In the hope of demystifying "high theory," we will both read seminal works of literary theory and test their merits and analytical methods by applying them to various texts. As you develop a working understanding of critical theory and practice, you will become attuned to issues of gender, race, class, ideology, ethnicity, power, language, textuality, and canonicity, and to the ways in which these issues are shaping the field of literary studies. Our theoretical texts will be drawn from the Patricia Waugh/Philip Rice anthology, Modern Literary Theory: A Reader. The balance of the reading list will include some of the following: Oscar Wilde's The Picture of Dorian Gray, Jamaica Kincaid's A Small Place, James Joyce's "The Dead" (Case Studies in Contemporary Criticism edition), and Jackie Kay's Trumpet, as well as some shorter fiction and some poetry selections.
320-3crs-Shakespeare (Writing Course for Upper Division)(Prereq: ENLT 301 or consent of instructor)
(Not open to Majors in PREN)
Section 1-TR-11:10-12:30p-John Hunt
Section2-TR-2:10-3:30p-Robert Pack
Hamlet, Othello, King Lear, Macbeth, A Midsummer Night's Dream, Measure for Measure, and The Tempest will be closely examined for imagery, structure, philosophical perspective, and in respect to the themes of desire, will, and choice. Special attention will be given to the study of unconscious motivation and the attempt of major characters to tell their stories.
Section 80-TR-2:10-3:30-John Hunt-Honors (Consent of Honors College Required)
321-3crs-Studies in Major Author (Writing Course for Upper Division) (Prereq: ENLT 301 or consent of instructor)
(Not open to Majors in PREN)
Section 1-Beckett-TR-12:40-2p-Robert Baker
Rimbaud: Ce ne peut étre que la fin du monde, en avançant: It can only be the end of the world, ahead. In this course we will study nine or ten of Beckett's soundings of catastrophe. Beckett has been characterized as, among other things, the last modernist, a philosophical clown, a satirist recalling Swift and Sterne, a seismographer of disintegrations, a clairvoyant traveler to the no place of death, a tragic humorist akin to Kafka in his scrutiny of the impenetrable, a wry absurdist unraveling prominent themes of French "existentialism," and an ironic ventriloquist unraveling prominent themes of French "post-structuralism" twenty years ahead of time. He tends to write of lives, or dying lives, that take place in regions occasionally resembling purgatory, occasionally hell, and occasionally nowhere, as though he moved in a gnostic universe of calamity lacking a gnostic spark of release. He explorations of these regions bear valences at once spiritual (wisdom, according to Socrates, is the practice of dying), social or in-the-aftermath-of-social (ruined relationship and sheer loneness are common to these regions), and metaphysical (nihilism is a shadow Beckett measures time and again). A composer of highly self-reflexive and meta-fictive texts, he raises important questions concerning the doings and the possibilities of the genres in which he writes. He lived for most of the twentieth century (1906-1989), but he wrote his major texts in France in the years during and just after World War II, working in an historical climate that may seem far from our present, or maybe not so far.
We will try to engage Beckett's adventures from a number of these different perspectives. Required Texts: F. Kafka, The Castle; J.P. Sartre, Nausea; S. Beckett: Murphy, Watt, Mercier and Camier, Molloy, Malone Dies, The Unnamable, Waiting for Godot, Endgame, How It Is, and The Complete Short Prose; H. Kenner, A Reader's Guide to Samuel Beckett.
Section 2-Dickens-MWF-9:10-10:00a-John Glendening
This course concerns the novels of Charles Dickens and how they respond to historical, cultural, and literary factors relevant to early and mid-Victorian civilization. The interconnected goals of ENLT 324 are to gain understanding of (1) the society that helped produce Dickens, (2) the relationship of Dickens to his readership and to the publishing industry, (3) the sources of his success, (4) his responses and contributions to the nineteenth century novel, (5) his ongoing thematic concerns, (6) narrative tactics and structure in his novels, (7) literary evolution and change over the course of his career, and (8) his legacy and enduring popularity. There will be pop reading quizzes, a mid-term exam, a final exam, and three critical essays. Texts may include Oliver Twist, David Copperfield, Hard Times, A Tale of Two Cities, Great Expectations, and Our Mutual Friend.
Section 3-James Joyce Ulysses-TR-3:40-5:00p-Bruce Hardy-Honors (Consent of Honors College Required)
323-3crs-Studies in Literary Forms (Writing Course for Upper Division) (Prereq: ENLT 301 or consent of instructor)
(Not open to Majors in PREN)
Section 1-Canadian Literature-TR-12:40-2:00p-Brady Harrison
English 323 examines a limited number of outstanding Canadian novels, stories, poems, and films in their historical, cultural, and especially literary contexts. Beginning with such acclaimed early twentieth century writers and poets as Ethel Wilson, Morley Callaghan, E.J. Pratt, and others the course will explore the development of Canadian letters, sound efforts in the 1960s and 1970s to found a "national literature," and map the ascendancy of Canadian writing to the world stage over the last thirty years. We'll analyze the challenges and complexities of creating a cross-cultural literature in such a vast and diverse colonial/postcolonial nation, and examine the importance of the north, place, history, race, gender, and more in CanLit. We'll ask what makes Canadian literature-if such a thing were possible-distinctly Canadian and explore Canadian anxieties over what makes a Canadian a Canadian. As the course proceeds, we'll also have opportunities to apply different critical theories to the primary texts.
Texts (Subject to Revision!): Atwood, Margaret. Alias Grace, The Journals of Susanna Moodie; Carr, Emily. Klee Wyck; Geddes, Gary. Ed. 15 Canadian Poets X 3; King, Thomas. Green Grass, Running Water; Kroetsch, Robert. Seed Catalogue; MacLeod, Alistair. No Great Mischief; Mistry, Rohinton. Swimming Lessons; Watson, Sheila. The Double-Hook.
Section 2-Seduction: 17 & 18 Century-MWF-2:10-3:00p-Robert Browning
Seduction is, according to a recent analyst of the concept, the "most subtle, elusive, and effective form of power." Because this manner of power strives, by definition, for the willing acquiescence of a seducer's target it is driven by knowledge and craft, not force. Study of the art of seduction leads one to many of the most perceptive (and diabolical) students of human nature literature has to offer: to characters such as Shakespeare's Iago, Milton's Satan, and "Monk" Lewis's Matilda. In this course we will focus on poetry, drama, fiction, and historical documents of the 17th and 18th centuries, the period when seduction emerges as an immensely popular subject in the creative arts. We will begin by studying classical sources for the subject (principally Homer and Ovid) and the cultural and political reasons why the art of seduction reemerges and then flourishes during the early-modern period. Units and running themes of the course will include: theatricality and rhetoric; theories of sensory perception and appeal; early-modern views about witchcraft and sorcery; ritual and ceremonialism; representations of otherness; politics of the new world and the old world; and the politics of gender. We will read works by Shakespeare, Donne, Molière, Milton, Hobbes, Behn, Defoe, Richardson, Pope, Rowson, Laclos, and Lewis. Integral to the course will be consideration of recent theories of seduction and the "state-of-the-art" in our own time. Required written work: two shorter papers, one longer paper.
Section 3-Short Story-TR-9:40-11:00-Robert Pack
This course will consist of close readings of great works in the American, English, and European traditions, with particular focus on the theme of truth and illusion. Some of the authors to be considered are: Melville, Cheever, Bellow, Wells, Joyce, James, Mann, Gogol, Chekov, and Tolstoy. Students will be expected to participate actively in analytic and speculative discussions.
325-3crs-Studies in Literature and Other Disciplines (Writing Course for Upper Division)
(Prereq: Nine Credits of ENLT or LS or Consent of Instructor) (Not Open to Majors in PREN)
Section 1-Trials in Literature-MWF-10:10-11:00a-Casey Charles
The trial is a panoptic space of scrutiny where breaches in the social fabric are redressed through methodologies of discovering the truth about innocence or guilt. These methodologies are inevitably infused with an ideological neutrality that masks an often violent form of dramatic catharsis. This course looks at the history of the trial in western culture-from Athena's jury system through modern legal procedure, stopping to outline the parameters of trial by ordeal, combat, and systems of torture like the Star Chamber, which adumbrate current methods at work with the trial of "enemy combatants." We will examine the trials of Jesus, Socrates, Shylock, Bill Budd, Oscar Wilde, Scopes, and Dan White, among others, employing genres of drama, film, novels. Our theoretical guide will be Foucault's Discipline and Punish. Students take reading quizzes and give presentations on a selected trial. The course works toward a final 10-12 page essay.
329-3crs-Native American Literature (Writing Course for Upper Division) (Same as NAS 329-01)
(Prereq: Three Credits of ENLT and NAS 100H or 202L or Consent of Instructor)
Section 1-TR-2:10-3:30p-David Moore
Selected readings from Native American literature with special emphasis on the literature of writers from the Rocky Mountain west.
335-3crs-The American Novel (Writing Course for Upper Division) (Prereq/Coreq: ENLT 301)
(Not Open to Majors in PREN)
Section 1-TR-11:10-12:30p-Brady Harrison
English 335 examines four long, complex, challenging, gigantic, frustrating, maddening, door-stopping works of American fiction, and sets them in their historical, cultural, and especially literary contexts. In particular, we'll explore American literary modernism and postmodernism, and trace the lineages and disjunctions between these two major twentieth century movements. As the course progresses, we'll also have opportunities to discuss different critical theories and to apply them to the primary texts. Possible texts: Ellison, Ralph. Invisible Man; Faulkner, William. Absalom, Absalom!; Oates, Joyce Carol. Them; Pynchon, Thomas. Gravity's Rainbow.
338-3crs-Montana Writers
Section 1-MW-2:10-3:30p-Nancy Cook
We will look at writing about Montana by Montanans of one sort or another, as we examine how Montana looks from the perspectives of genre, time, race, class, gender, and other markers of identity. What does a body of literature look like when viewed from the perspective of state identity? What does a regional literature look like? What historical, environmental, social, economic and political issues emerge as important to Montanans? How does genre change or inflect such issues? We'll briefly survey Montana's literary heritage and then focus on 20th-century texts. Authors may include Welch, Doig, Smith, Howard, Johnson, but you can expect a variety and a few surprises. Be prepared to read extensively and intensively, to write frequently and to question what everybody knows to be authentically Montanan. Oh, and we'll read some humorous pieces, too. Experience with livestock not required.
349-3crs-Medieval Literature (Prereq: ENLT 301 or Consent of Instructor)
(Not Open to Majors in PREN)
Section 1-TR-11:10-12:30p-Ashby Kinch
In "Bone Dreams," Seamus Heaney writes, "In the coffered/riches of grammar/and declensions/I found ban-hus,/ its fire, benches, wattle and rafters,/where the soul/ fluttered a while/ in the roofspace." Heaney's poem powerfully evokes a connection to Anglo-Saxon poetry, not only through an allusion to Bede's sparrow flying in the rafters of a mead hall, but through recycling the language of Old English poetry, so rich in metaphorical language like "ban-hus," a kenning for the bone-house of our shared body. This course will seek to connect students directly to this vibrant core of the English language by exploring its "coffered riches," the earliest English poems. Students will read in translation a selection of major and minor Old English texts, ranging from "Caedmon's Hymn," the vexed origin of English poetry, to Beowulf, its grandest articulation. We will read Old English elegies, riddles, and selections of prose, setting this literature in its cultural context by examining the dynamic interchange between Germanic oral and Christian literary cultures. Students will also gain some exposure to Old English language through a brief unit on the grammar of Old English, as well as optional reading assignments in original Old English texts. Texts: Crossley-Holland, Kevin. The Anglo-Saxon World: An Anthology; Beowulf-A Verse Translation (Tr. Seamus Heaney).
395-3crs-Special Topics Variable (Prereq: ENLT 301 or consent of Instructor)
(Not open to Majors in PREN)
Section 1-N. Ireland's Troubles: From Bloody Sunday to Good Friday-TR-9:40-11:00a-Eric Reimer
The typical categories (Catholic vs. Protestant, Nationalist vs. Unionist, Irish vs. English) and rhetoric have usually oversimplified a conflict that has lasted over three decades and claimed over 3600 lives. This course will examine how novelists, poets, filmmakers, musicians, etc., from a variety of identity positions, have responded to what the Irish call (with no small amount of euphemism) "the Troubles." How are complex political conflict, senseless violence, and subsequent trauma represented? What alternative visions are offered? How are creative writers and politicians mingling in what we can now identify as "peace studies"? Studying some provocative literature and film, we'll address these and other questions, as well as consider the issues surrounding the Good Friday Agreement and the ongoing peace negotiations in Northern Ireland. Students will be expected to leave with a basic familiarity with Irish and Northern Irish history of the past century, and with a more informed understanding of the crisis in Northern Ireland. The required texts will include William Trevor's Fools of Fortune, Bernard MacLaverty's Cal, Eoin McNamee's Resurrection Man, Robert McLiam Wilson's Eureka Street, plays by Anne Devlin, Gary Mitchell, and Frank McGuinness, and poetry by Seamus Heaney, Michael Longley, Paul Muldoon, Ciaran Carson, and others. Film viewings will likely be drawn from the following: Neil Jordan's The Crying Game, Paul Greengrass's Bloody Sunday, Pete Travis's Omagh, Terry George's Some Mother's Son, and Alan Pakula's The Devil's Own.
Section 2-Literature of Pre-Norman Ireland-TR-2:10-3:30-O'Riordain
Irish has the oldest vernacular literature of Europe; our earliest monuments go back to the sixth century.' This observation by Professor Calvert Watkins of Harvard University highlights the unique and ancient literary tradition of the Irish. In the pre-Norman period, this literary tradition was cultivated by the scholarly monks of the monasteries, at that time the intellectual centers of Ireland and, for a period, of Europe. These learned monks were themselves members of Ireland's hereditary families of learning. In their embrace of Christianity there occurred a happy consummation of old and new, as the indigenous literature of Ireland was subsumed into the new dispensation and shaped by it. In a similar fashion, Ireland's Christian literature would draw extensively from native materials to present the lives and exploits of the saints in a way reminiscent of the heroes of the epic tales. Ireland's scholarly monks would also bring a new vitality to Christian culture so that Irish Latin learning was remarkably superior to anything that could be found in Saxon England, Lombard Italy or Merovingian France. This course will examine the Christian treatment of the epic literature of Ireland, the introduction of new themes and motifs which occurred with the coming of the new religion, the emergence of personal poetry changes, the use of native material in constructing the lives of the saints, and the manner in which these pseudo-biographies were used for purposes other than religious. We will also treat of Irish writing in Latin and the contribution of Irish monks to the intellectual life of Europe, a contribution which would earn Ireland the name 'The Island of Saints and Scholars.'
420-3crs-History of Criticism & Theory (Same as LS 460-01)
(Prereq: ENLT 301 and 6 credits in literature courses numbered 300 or higher or Consent of Instructor)
Section 1-MWF-1:10-2:00p-Christopher Knight
421-3crs-Topics in Critical Theory (Same as LS 461-02)
(Prereq: ENLT 320 and 6 Credits of Lit Courses Numbered 300 or Higher or Consent of Instructor)
Section 1-Critical Theory and Science-TR-11:10-12:30p-Michael McClintock
Section 2-The Question of Modernity-TR-3:40-5:00p-Robert Baker
This course is an introduction to the question of modernity. What do we mean when we speak of a "modern" society as distinct from a "traditional" or "pre-modern" society? There are of course many responses to this question. It is often said, for example, that modernity is shaped primarily by an extended religious or metaphysical crisis, by what has been called the process of secularization or the death of God, or, as this process is described from another angle, that modernity is shaped primarily by a new mathematical science, a new conception of reason, a gradual "disenchantment of nature," and a general project of "conquering nature" in order to build a free and prosperous society. Or, again, it is said that modernity is characterized above all by a new conception of the individual and, correspondingly, a new conception of both individual and political freedom. Thus modernity is taken to involve a new understanding of art animated by the tensions between romantic, realist, and, later, modernist and avantgardist orientations, and at the same time a new understanding of politics guided by the democratic ideals of the American and the French revolutions. How in that case are we to understand the specific forms of sexism and racism that have been so widespread in the modern world? Or, again, it is often said that modernity is driven above all by the new economic system of capitalism and the various social dynamics and cultural values it brings with it, including the elevation of the profit motive to a dominant social ideal, the gradual commodification of every zone of nature and human life, the development of a global inter-state system, and a pervasive social and cultural rhythm of creative destruction and destructive creation. Is it possible to hold in mind all these perspectives at once? In trying to keep our bearings, we will concentrate on one complex theme found everywhere in the modern world, namely, the basic ideal of "individual freedom" or, in less inspiring terms perhaps, the basic ideology of "individualism." Possible texts: Marshall Berman, All That Is Solid Melts Into Air; Louis Dumont, "From Other-worldly Individualism to This-worldly Individualism"; Carolyn Merchant, "Dominion Over Nature" and "The Mechanical Order"; John Locke, Second Treatise of Government; Immanuel Kant, Perpetual Peace and Other Essays; William Wordsworth, Selected Poems; Karl Marx, The Communist Manifesto; Max Weber, "Science as a Vocation"; Virginia Woolf, A Room of One's Own; Max Horkheimer and Theodor Adorno, Dialectic of Enlightenment; Martin Heidegger, The Question Concerning Technology; Karl Polanyi, The Great Transformation: The Political and Economic Origins of Our Time; Immanuel Wallerstein, World-Systems Analysis: An Introduction; Charles Taylor, The Ethics of Authenticity.
520-3crs-Seminar in British Literature (Open to graduate students in CRWR, ENGL, EVST, LING)
(Open to Class Level of GR)
Section 1-British Literature Seminar-R-6:40-9:30p-Louise Economides
This course will focus upon eco-phenomenology, a new branch of ecocriticism that attempts to combine environmental concerns with insights from Continental philosophy. As a response to the empiricism often assumed in traditional ways of formulating the environmental crisis, eco-phenomenologists look to the work of thinkers such as Edmund Husserl, Martin Heidegger, Emmanuel Levinas, Maurice Merleau-Ponty and Jacques Derrida as examples of how the "natural attitude" at work in first-wave ecocriticism can be challenged, permitting more complex accounts of language and art's role in constructing our experiences of nature to emerge. The attempt to wed ecological commitments with phenomenological thought can produce interesting tensions, however, some of which we will investigate in this course. To what extent, for example, do Heidegger's late phenomenological texts represent a significant shift away from the anthropocentrism of his early works? Can Levinas's ethics of "face" legitimately apply to non-human phenomena? Do Derrida's attempts to re-think the question of animal subjectivity suggest more ecologically responsible ways of relating to non-human others? In answering such questions, we'll look at eco-phenomenological texts that attempt to use insights from these thinkers, such as David Abram's The Spell of the Sensuous. We'll also re-consider aesthetics through the lens of eco-phenomenology, examining essays on visual art and literature, as well as precedents for eco-phenomenological enquiry in Romantic and Modernist poetry.
Section 2-Finnegan's Wake-M-5:30-8:00p-John Hunt
521-3crs-Seminar in American Literature (Open to graduate students in CRWR, ENGL, EVST, LING)
(Open to Class Level of GR)
Section 1-PostCivil Rights Lit-W-4:10-7:00p-Lynn Itagaki
This course will examine the way words are used to attempt to heal deep political, economic and social rifts in American society, especially over issues of racial justice and historical racism. We will look at the increasing emergence of formal apologies and monetary reparations in United States politics within the last ten years and examine how these political developments are reflected in contemporary American literature: how tensions are resolved, reconciled, or even remain marginal and overlooked. Through present-day discussions of past historical injustices, we will consider novels, short stories, graphic novels, rap lyrics, plays and essays in order to develop cogent arguments and marshal evidence in support of our opinions about controversial issues today. How do writers, writing within certain contexts, attempt to resolve long-standing political, social and economic issues regarding racial justice? We will likely consider Toni Morrison's Beloved, Art Spiegelman's Maus I, Louise Erdrich's Tracks, Gloria Anzaldua's La Frontera/Borderlands, Anna Deavere Smith's Twilight: Los Angeles, 1992, Simon Ortiz's From Sand Creek, Nora Okja Keller's Comfort Woman, Joy Kogawa's Obasan, Paul Beatty's The White Boy Shuffle, and Karen Tei Yamashita's Through the Arc of the Rainforest.
Section 2-The Ecology of Native American Literatures-T-6:40-9:30p-David Moore
The course will read Native American fiction and non-fiction writers and poets in conversation with Native and other scholars of ecocriticism and literary studies. Questions to explore include, for starters, the following: What do Native literary representations of authenticity, identity, community, and sovereignty suggest for approaches in ecocritical theory? How do contemporary and historical issues in Native Studies bear on literary questions in Native ecocriticism? How has ecocriticism developed so far, and in what directions does Native literature shape ecocritical reading? What aspects of Native literatures does ecocriticism clarify? How do Native American literatures represent interrelations of culture and nature, with what significance for ethics of land and literature? How do various Native literary constructs of gender relate to Native culture-nature systems? How does Native literature question the very binary of culture and nature? What is an ethics of criticism for interpretations and representations of Native cultural property? How are issues in Indian country of environmental degradation related legally, politically, historically, and ideologically to issues of race, class, and gender in America? What is the relation between environment and language? Graduate students will have a chance to focus these and their own questions on this broad field.
Literary readings will include oral traditions as well as canonical and non-canonical Native writers such as Craig Womack, Irvin Morris, Adrian Louis, Tom King, Carter Revard, Anita Endrezze, Laura Tohe, Lucy Tapahonso, Leanne Howe, Mandy Smoker, Heather Cahoon, Vic Charlo, William Apess, Sarah Winnemucca, D'Arcy MiNickle, Gerald Vizenor, Ray Young Bear, Joy Harjo, Leslie Silko, Louise Erdrich, James Welch, Debra Earling, Sherman Alexie, Simon Ortiz, and Vine Deloria, Jr. Critical readings will range from ecocritical texts such as Joni Adamson's American Indian Literature, Environmental Justice, and Ecocriticism and Karla Armbruster's Beyond Nature Writing: Expanding the Boundaries of Ecocriticism; through Native literary studies such as Womack's Red on Red: Native American Literary Separatism and Robert Nelson's Place and Vision: The Function of Landscape in Native American Fiction; and Native Studies texts such as Taiaiake Alfred's Heeding the Voices of Our Ancestors: Kahnawake Mohawk Politics and the Rise of Native Nationalism. There will be room for cross-cultural comparative studies with other traditions such as "nature writers," the Beats, or contemporary ecofeminists, depending on the student's area of interest. Participants will be responsible for discussions, class presentations, a research paper, and other responses to the material as the conversation evolves.
522-3crs-Seminar in Comparative Literature (Same as MCLG 522-01) (Open to graduate students in CRWR, ENGL, EVST, LING)
(Open to Class Level of GR)
Section 1-Strategies of Seduction-M-5:10-7:30p-Mladen Kozul
This course will focus on the problematic of seduction in early modern period (17th-beginning of the 19th century). The primary texts will be mainly Spanish, French, Italian and English plays, novels and critical writings. Seduction will be considered from several standpoints. We will analyze it as a set of actions and speech acts performed by fictional characters, such as Don Juan (by Tirso de Molina, Molière, Mozart/da Ponte), Richardson's Lovelace (Clarissa), Valmont et Mertueil (Liaisons dangereuses), etc; as implying certain esthetic, poetic and rhetoric choices, such as construction of narrative scenes, importance of the gaze, representation of the body, metaphorical language, specific relations text-image; as a polemic notion applied to the novel that is thought of as an instrument of seduction, especially in 18th century France; as a central feature of libertine novel as a genre. Our readings will include texts on the theory of seduction, from Georgias to Baudrillard and beyond; literary criticism, literary history and/or history of ideas.
Section 2-Post Colonial Theory & Lit-MW-2:10-3:30p-Katie Kane
With its attention to a politics of struggle and resistance in colonized societies, postcolonial studies has generated a greater academic and popular consciousness concerning such political issues as intra-and inter-national borders, migrancy, the identity categories of the minor and minorities, and multiculturalism-issues with which it is crucial to engage as the world gets increasingly identified as a global space. This course will serve both as an introduction to the main currents in postcolonial studies since the 1978 publication of Edward Said's Orientalism and as a forum for the assessment of its evolution as a field of critical inquiry. The course will begin with an examination of those definitional issues, and temporal, thematic, and theoretical claims that have prompted debates around the question of how to locate "the postcolonial." In order to engage with these categorical and conceptual inquiries, we will read and examine various theoretical positions (as articulated by critics such as Spivak, Said, Fanon, and others). Additionally, we will be pursuing the implications of colonialism and resistance in the context of important cultural and literary documents. As mandated by the postcolonial field of inquiry itself, we will work to ground the analytic and discursive insights we generate in our readings of these texts in the specific historical conditions of colonization. Possible Texts: Conrad, Joseph. Heart of Darkness; Loomba, Ania. Colonialism/Postcolonialism; Friel. Brian. Translations; McClintock, Anne. Imperial Leather; Said, Edward. Orientalism; Shakespeare, William. The Tempest.
596-1-9crs-Graduate Independent Study (Prereq: Consent of Instructor and Chair)
598-1-9crs-Cooperative Education Experience (Prereq: Consent of Department)
599-1-6crs--Thesis
440-3crs-Teaching Writing (Prereq: C&I 303, senior standing, and admission to teacher education)
(C/I required on override slip) (Open to class level of GR SR)
Section 1-TR-12:40-2:00p.m.-Morey
Emphasis on teaching writing and reading in grades 5-12. Research about development and maturity of readers/writers, strategies for teaching writing and reading in all content areas, criteria for evaluating writing/reading, peer-coaching methods, writing/reading workshops, assignment characteristics, and grading practices. Required of students pursuing secondary teaching certificates.
441-3crs-Teaching Reading & Literature (Prereq: ENT 439 and admission to teacher education)
(C/I required on override slip) (Open to class level of GR SR)
Section 1-M-4:10-7:00p.m.-Chin
Emphasis on various approaches to teaching literature: generic, thematic, chronological and interdisciplinary. Includes techniques for developing evaluative, interpretive, perceptive, and personal responses to prose, poetry, film and other media. Explores student-centered curriculum, with emphasis on developmental abilities in reading, speaking, listening and viewing. Special emphasis on language and language development. Teaching majors and minors in areas other than English should enroll in ENT 440.
442-3crs-Teaching Oral Language (Prereq: ENLI 465 or LING 465 and admission to teacher education)
(C/I required on override slip) (Open to class level of GR SR)
Section 1-TR-3:40-5:00p.m.-Morey
This course is designed for individuals who are interested in teaching the language arts of speaking, listening, and viewing. The course focuses on the theory, research, and pedagogy of oral language and media literacy as well as lesson design and curriculum issues in the English language arts. Using best classroom practices and recent research from professional associations, such as the National Council of Teachers of English and the International Reading Association, beginning teachers learn to teach oral language (speaking and listening skills) and media literacy in grades 5-12. Students experience the language arts through workshop activities, readers' theater, creative drama, cooperative learning groups, role playing, media, technology, and other speaking/listening/viewing methods.
542-3crs-Theor/Pedagod of Rhet/Comp (Prereq: teaching experience or senor standing (3.0 GPA or higher) with consent of instructor)
(C/I required on override slip)
Section 1-T-5:10-8:00p.m.-Ryan
This course provides an overview of the major theories of rhetoric and composition for the purpose of considering best practices in teaching writing at the secondary and postsecondary levels. Intended for graduate students interested in the rhetorical teaching of writing and reading, this course will examine some of the foundations, movements, and trends in rhetoric and composition studies, not only to understand what composition and rhetoric are, but also to consider what composition and rhetoric can do to effect change in people's lives.
593-1-4crs-Professional Paper (Consent of instructor)
596-1-9crs-Graduate Independent Study (Consent of instructor)
598-1-3crs-Cooperative Education Experience (Prereq., consent of department)
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