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Home > Graduate Studies > Courses : Fall 2005

English Graduate Courses Fall 2005

EngL

ENGL 4152 Nineteenth Century British Novel

(A-F only, unless otherwise noted)
26775 -001 LEC, 06:20 P.M. - 08:50 P.M., Th (09/06/2005 -12/14/2005), LindH 215, TCEASTBANK, Luke, David B, 3 credits, 2 seat(s) reserved for non-PSEO, non-admitted student; 8 seat(s) reserved for Graduate Student; 20 seat(s) reserved for Undergrad students
The course will study the cultural developments of the 19th-C English novel from Mary Shelley's Frankenstein through Bronte, Dickens, Eliot and Hardy, to Joseph Conrad's Heart of Darkness (1898) in terms of aesthetic, psychological, philosophical, and social issues.

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ENGL 4233 Modern and Contemporary Drama

(A-F only, unless otherwise noted)
31417 -001 LEC, 05:00 P.M. - 07:30 P.M., M (09/06/2005 - 12/14/2005), LindH 305, TCEASTBANK, Lee, Josephine D, 3 credits, 22 seat(s) reserved for Undergrad student; 2 seat(s) reserved for non-PSEO, non-admitted student
This course surveys a range of works written for theater in the 19th and 20th century by playwrights such as Henrik Ibsen, George Bernard Shaw, Elizabeth Robins, Anton Chekhov, August Strindberg, Samuel Beckett, Caryl Churchill, Wole Soyinka, and others. Emphasis will be placed on understanding theatrical form and production as well as the demands of reading dramatic literature. We will emphasize how the major aesthetic forms of modern drama—the well-made play, realism, expressionism, symbolism, epic theater, absurdism—presented not just distinctive theatrical styles, but also new ways of "seeing" for the theatrical spectator. We will also look at how differences of gender, class, and race inform the content and presentation of these plays.

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ENGL 5001 Introduction to Methods in Literary Studies

(prereq grad or instr consent)
21634 -001 LEC, 03:35 P.M. - 06:05 P.M., Th (09/06/2005 - 12/14/2005), AkerH 309, TCEASTBANK, Hancher, Michael, 3 credits, 25 seat(s) reserved for Graduate Student

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ENGL 5090 Readings in Special Subjects

(max crs 9; 3 repeats allowed; Credit will not be granted if credit has been received for: ENGL 5100; prereq grad student or instr consent)
31421 -001 LEC, 06:00 P.M. - 08:30 P.M., Tu (09/06/2005 - 12/14/2005), LindH 315, TCEASTBANK, Ferguson, Jeanine, Grant Writing & Development, 3 credits, 2 seat(s) reserved for non-PSEO, non-admitted student
Meets with: ENGL 3090 section 003

33251 -002 LEC, 04:15 P.M. - 06:45 P.M., Tu (09/06/2005 - 12/14/2005), LindH 320, TCEASTBANK, Hampl, Patricia, Reading as Writers: The Essay, 3 - 4 credits
Meets with: ENGW 5310 section 001

34116 -003 LEC, 09:45 A.M. - 11:00 A.M., Tu,Th (09/06/2005 - 12/14/2005), LindH 203, TCEASTBANK, Loeschnigg, Martin Arthur, Intro to Canadian Lit in Engl, 3 - 4 credits
Meets with: ENGL 3090 section 002
During the last decades, Canadian literature has attracted much international attention. Novels by Margaret Atwood, Michael Ondaatje and Yann Martel have won the Booker Prize, one of the most prestigious literary awards in the English-speaking world, and authors such as Alice Munro and Mavis Gallant are regarded, by common consent, as being among the world's finest writers of short fiction. The course provides a survey of the historical development of Canadian literature from the colonial period and the time of emerging nationhood to the present. In particular, we shall discuss some of the highlights of contemporary Canadian fiction with a view to the historical and cultural backgrounds of texts. We shall thus deal, for instance, with literary representations of the wild and of the frontier, of the situation of Canada's First Nations, of immigration and of multicultural urban Canada. Reading: An Anthology of Canadian Literature in English, revised and abridged edition, eds. Russell Brown, Donna Benett & Nathalie Cooke, Toronto: Oxford University Press 1990. The New Oxford Book of Canadian Short Stories in English, eds. Margaret Atwood and Robert Weaver, Toronto, Oxford, New York: Oxford University Press 1997. Margaret Laurence, The Diviners (1974); Timothy Findley, The Wars (1977); Michael Ondaatje, The English Patient (1992); Margaret Atwood, Alias Grace (1996); Anne Michaels, Fugitive Pieces (1997); Yann Martel, Life of Pi (2002).

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ENGL 5110 Readings in Middle English Literature and Culture

(max crs 9; 3 repeats allowed; credit will not be granted if credit received for: 5210; prereq Grad student or instr consent)
31423 -001 LEC, 05:00 P.M. - 07:30 P.M., M (09/06/2005 - 12/14/2005), LindH 229, TCEASTBANK, Farber, Lianna, Chaucer, 3 credits, 8 seat(s) reserved for Graduate Student
Meets with: MEST 5610 section 005, ENGL 3102 section 001, MEST 3610 section 003.

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ENGL 5140 Readings in 18th Century Literature and Culture

(Credit will not be granted if credit has been received for: ENGL 3141; prereq Grad student or instr consent)
31268 -001 SEM, 06:20 P.M. - 08:50 P.M., M (09/06/2005 - 12/14/2005), LindH 325, TCEASTBANK, Goldberg, Brian B, 3 credits, 8 seat(s) reserved for Graduate Student
Meets with: ENGL 3141 section 001

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ENGL 5170 Readings in 20th-Century Literature and Culture

(max crs 9; 3 repeats allowed; credit will not be granted if credit received for: 5270; prereq Grad student or instr consent)
31424-001 LEC, 02:30 P.M. - 03:45 P.M., Tu,Th (09/06/2005 - 12/14/2005), TCEASTBANK, Treuer, David Robert, Proust, Mann & Joyce, 3 credits, 8 seat(s) reserved for Graduate Student
Meets with: ENGL 3090 section 001

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ENGL 5175 20th-Century British Literatures and Cultures I

31425 -001 DIS, 11:15 A.M. - 12:30 P.M., Tu,Th (09/06/2005 - 12/14/2005), LindH 215, TCEASTBANK, Firchow, Peter E, 3 credits, 8 seat(s) reserved for Graduate Student Meets with: ENGL 3175 section 001

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ENGL 5593 The Afro-American Novel

(Credit will not be granted if credit has been received for: AFRO 5593)
32965 -001 SEM, 02:30 P.M. - 03:45 P.M., M,W (09/06/2005 - 12/14/2005), BlegH 125, TCWESTBANK, Wright, John Samuel, 3 credits
Meets with: AFRO 5593 section 001
Since the convergence of romanticism and literary abolitionism in the 1850s, African American writers have discovered strategic uses for the modern novel—making it both an ethical instrument and the bearer of valued traditions. Inclined initially more to social realism than to fantasy, romance, or surrealism, black American novelists have created a "committed" literature rooted in the view that the images and ideas of the novel are potential weapons in the struggle for social justice and social transformation. Yet an ever present counter-current of comedies, satires, historical fables, and speculative fictions developed by African American novelists express their indebtedness also to philosophical and folk traditions that view literature as a healing ritualistic exploration of human possibility and the transmundane of alternate worlds and worldviews.

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ENGL 5711 Introduction to Editing

(credit will not be granted if credit received for: 5401)
26919-001 WKS, 04:15 P.M. - 06:45 P.M., Tu (09/06/2005 - 12/14/2005), TCEASTBANK, Zuckerman, Jeffrey Jay, 4 credits, 2 seat(s) reserved for non-PSEO, non-admitted student
This course is an introduction to the editing process—specifically, learning about the editor-author-publisher relationship, with an emphasis on building skills in basic copyediting, style, grammar, and mechanics. We focus primarily on nonfiction editing; assignments vary from newspaper and magazine articles to academic editing and, briefly, fiction editing. Professional editors from the community visit on several occasions. The course texts include The Chicago Manual of Style and several copyediting textbooks. Weekly practice homework assignments are given. There are two midcourse exams and one final. Each has two parts: a take-home portion, in which students have one week to edit an article and query the author, and an in-class portion, in which students show their knowledge of mechanics, grammar, and style in a deadline-driven (and open-book) publishing environment. Email access is required.

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ENGL 5790 Topics in Rhetoric, Composition, and Language

(credit will not be granted if credit received for: 5650; prereq Grad student or instr consent)
31427 -001 DIS, 06:20 P.M. - 08:50 P.M., Tu (09/06/2005 - 12/14/2005), LindH 229, TCEASTBANK, Escure, Genevieve J, Pidgins & Creoles, 3 credits, 5 seat(s) reserved for English grad student
Meets with: LING 5900 section 002
This seminar examines the genesis and development, as well as the linguistic structure and sociopolitical functions of contact languages. Such languages include pidgins and creoles (e.g., Belizean Creole, Gullah, Haitian Creole, Hawaiian Creole, Papiamentu, Tok Pisin, and so forth), and mixed languages (e.g., Chamorro, Garifuna, Ma’a, Media Lengua, Michif and so forth). The seminar investigates the following issues: Why and how do new languages emerge? We will explain language genesis in terms of the traumatic situations and sociohistorical factors that trigger their emergence (e.g., colonialism, indenture, war, trade, migration, normative language attitudes). What is the structure of contact languages? We will provide an overview of the major linguistic features of creoles (phonological systems, lexicosemantics and morphosyntax). We will discuss universal features of all creoles, regardless of their different lexical bases. How do contact languages interact with contiguous standard/dominant languages? We will analyze variability issues such as decreolization, the creole continuum, and code-switching, and their relation to identity issues. Why do some contact languages die whereas others thrive? We will look at specific studies that illustrate the maintenance, official recognition, endangerment, attrition or death of various contact languages. Many creole or mixed languages thrive in spite of the traditional stigma attached to them and their speakers. Others are abandoned by their speakers due to the dominance of other languages. There are obviously multiple causes underlying language attrition. Contributing factors may be psychological, demographic, economic, as well as political or geographical. We will attempt to identify the processes that lead to the varying outcomes of contact languages.

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ENGL 5800 Practicum in the Teaching of English

(S-N only, unless otherwise noted; prereq Grad student or instr consent)
19084 -001 SEM, 12:20 P.M. - 02:15 P.M., M (09/06/2005 - 12/14/2005), LindH 305, TCEASTBANK, Ross Jr, Donald, 2 credits

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ENGL 5805 Writing for Publication

(credit will not be granted if credit received for: 8621; prereq Grad student in Engl or instr consent)
32386 -001 SEM, 01:25 P.M. - 03:55 P.M., F (09/06/2005 - 12/14/2005), LindH 216, TCEASTBANK, Ross Jr, Donald, 3 credits
This is a workshop course for graduate students who wish to prepare their academic writing for publication. To some degree, it will be a motivational seminar. Along the way, we will discuss professional issues such as: the goals, politics, and diplomacy of journal editors and conference organizers; the various roles of conference papers, book reviews, articles, and books; good practice and ethics of differences between course papers and articles, dissertations and books. You will do various exercises in writing abstracts, book reviews and notices, surveys of literature, and introductions. Also, your work in progress will be both edited and (somewhat formally) reviewed during the term. Writing and rhetorical issues to be addressed will include: getting started, momentum, and knowing when to quit; writing in short segments, starting at the beginning or at the middle; the roles of narration, description, and other forms of exposition; developing and expanding content .While variations are possible, I think the course will go best if you focus on a single project. It will be better if you have a start on your topic; there just isn't enough time for you to do full research and write a paper in ten weeks. However, if your research is done or nearly so, it should work out for you to begin with your notes and access to your sources. It's just fine if you start with a paper from one of your previous courses (maybe one of those with "this is publishable" cryptically at the end).

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ENGL 5992 Directed Readings, Study, or Research

(max crs 15; 15 repeats allowed; prereq instr consent , college consent)
20645 -001 DRD (09/06/2005 - 12/14/2005), TCEASTBANK, 1 - 15 credits

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ENGL 8090 Seminar in Special Subjects

(max crs 12; 4 repeats allowed; prereq Engl grad student or instr consent)
32532 -001 SEM, 03:00 P.M. - 05:30 P.M., M (09/06/2005 - 12/14/2005), LindH 202, TCEASTBANK, Craig, Siobhan S, Reading Cinema & Violence, 3 credits
Topics to be discussed include: violence as constitutive of language and subjectivity; the aestheticization of violence, acclamations of violence as liberatory or redemptive; regulatory violence; state violence. We will look at a variety of contemporary cultural issues, codes and representations. (For example, what is the relationship between the carefully constructed, disturbingly familiar visual portraits of violence that emerged from Abu Ghraib prison and the stylization of violence from fascist art and cinema to Hollywood?) We will spend time considering violence, subjectivity and aesthetics in relation to Fascism, terrorism, colonialism. Readings to include, among others: Derrida, Butler, Freud, Foucault, Deleuze, Theweleit, Artaud, Marinetti Arendt, Benjamin, Jelinek, Sontag. Cinematic texts may include films by Bunuel, Dreyer, Pasolini, Hitchcock, Scott, Jordan, Cronenberg, Kubrick, among others.

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ENGL 8110 Seminar: Medieval Literature and Culture

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
31428 -001 SEM, 03:25 P.M. - 05:55 P.M., Tu (09/06/2005 - 12/14/2005), LindH 216, TCEASTBANK, Krug, Rebecca L, Visionary Women, 3 credits
Meets with: MEST 8110 section 003.

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ENGL 8150 Seminar in Shakespeare

(max crs 9; 3 repeats allowed; prereq Engl grad student or instr consent)
31270 -001 SEM, 03:00 P.M. - 05:30 P.M., W (09/06/2005 - 12/14/2005), LindH 216, TCEASTBANK, Garner, Shirley Nelson, Shakespeare & Marlowe, 3 credits
We will read eight plays, four of Shakespeare, four of Marlowe, which I think of as treating similar themes. They will include the following: The Jew of Malta, The Merchant of Venice, Edward II, Richard II, Tamburlaine, Macbeth, Dr. Faustus, and King Lear. I will be interested in the historical, cultural, and literary contexts within which these plays were produced. I am especially interested in the ways race, class, and gender figure and don't figure. I tend to read literature from a feminist and psychoanalytic perspective, and I give considerable attention to class, which in Marlowe is a prominent theme and in Shakespeare a more muted one. Students will write two-page papers on six of the plays, prepare a two-page summary of a collateral reading of their choosing, and write a 12 – 15 page paper on a topic of your choosing and related to the course.

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ENGL 8170 Seminar in 19th-Century British Literature and Culture

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
26390 -001 SEM, 03:25 P.M. - 05:55 P.M., Tu (09/06/2005 - 12/14/2005), LindH 202, TCEASTBANK, Hirsch, Gordon D, Victorian "Problem" Novels, 3 credits
Students taking this course will read and discuss a selection of Victorian novels that I have called—adapting a tradition developed by critics of Shakespeare’s plays—“problem” novels, novels that have perplexed readers and critics over the years. Because of difficulties of form, assessment, interpretation, or the readers’ experience of these novels, they have historically been regarded (at least to some extent) as outliers to the Victorian canon. Each is in some ways both “imperfect” and an interesting specimen of Victorian fiction, repaying careful study. My tentative reading list for the course includes Elizabeth Gaskell’s Cranford, George Eliot’s Daniel Deronda, Anthony Trollope’s He Knew He Was Right, Olive Shreiner’s The Story of an African Farm, and two novels by Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde and The Wrecker. For their course paper students may write on one of the assigned novels or on another Victorian “problem” novel of their own choosing.

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ENGL 8300 Seminar in American Minority Literature

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
31430 -001 SEM, 12:20 P.M. - 02:50 P.M., W (09/06/2005 - 12/14/2005), LindH 202, TCEASTBANK, Damon, Maria, Contemporary Afro American Poetry, 3 credits.

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ENGL 8400 Seminar in Post-Colonial Literature, Culture, and Theory

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
26426-001 SEM, 03:35 P.M. - 06:5 P.M., W (09/07/2005 - 12/14/2005), LindH 202, TCEASTBANK, Ismail, Qadri M, Thinking Difference, 3 credits
This is not a class on "kinds" of difference. Rather, we will focus our attention on some key texts in which difference itself, as a concept, has been thought in the west since the enlightenment. Our reading will be guided by the following questions. If difference is (merely) the opposite of identity, and unthinkable without it, then what would it mean to ground a politics, or an ethics, on the basis of difference? Would so doing only reinforce identity (politics)? Is difference an irredeemably western notion (inconceivable without colonialism)? Would an emphasis on disagreement, or the responsibility to the other, be enabling alternatives? We will read Arnold, Boas, Butler, Comte, Deleuze, Derrida, Foucault, Kant, Riley, Spivak.

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ENGL 8444 FTE: Doctoral

(No Grade Associated, unless otherwise noted; prereq Doctoral student, adviser and DGS consent)
20235 -001 THE, TCEASTBANK, 1 credit

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ENGL 8510 Studies in Criticism and Theory

(max crs 12; 4 repeats allowed; prereq Engl grad major or or instr consent)
33127 -001 SEM, 12:20 P.M. - 02:50 P.M., W (09/06/2005 - 12/14/2005), TCEASTBANK, Scandura, Jani, The City, 3 credits

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ENGL 8520 Seminar in Cultural Theory and Practice

(max crs 12; 4 repeats allowed; prereq Grad student in Engl or instr consent)
22933 -001 SEM, 12:45 P.M. - 03:15 P.M., Tu (09/06/2005 - 12/14/2005), LindH 202, TCEASTBANK, Messer-Davidow, Ellen, Reading Foucault, 3 credits

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ENGL 8666 Doctoral Pre-Thesis Credits

(max crs 60; 4 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; doctoral student who has not passed prelim oral)
20405 -001 THE, TCEASTBANK, 1 - 18 credits

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ENGL 8888 Thesis Credit: Doctoral

(max crs 100; 10 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; 24 cr required)
25178 -001 THE, TCEASTBANK, 1 - 24 credits

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ENGL 8992 Directed Reading in Language, Literature, Culture, Rhetoric, Composition, or Creative Writing

 (max crs 15; 15 repeats allowed; prereq instr consent, dept consent)
19062 -001 DRD (09/06/2005 - 12/14/2005), TCEASTBANK, 1 - 9 credits

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EngW

ENGW 5102 Advanced Fiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
14434 -001 WKS, 04:15 P.M. - 06:45 P.M., Tu (09/06/2005 - 12/14/2005), LindH 303, TCEASTBANK, Treuer, David Robert, 4 credits
We will read and critique student fiction with a special emphasis on the short story though novel chapters will, under special circumstances, be accepted. Each student is expected to have two new short stories at the beginning of the term that they will present and that will be critiqued by their fellow students. Additionally, we will read and analyze published short stories with an eye toward structure and style. Students are expected to practice editorial skills, apply criticism, and re-draft at least one of the stories they have presented in class. Students will be graded on improved writing proficiency, editorial contributions, and class participation. Written comments will be due each week.

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ENGW 5104 Advanced Poetry Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
14435 -001 WKS, 04:15 P.M. - 06:45 P.M., M (09/06/2005 - 12/14/2005), LindH 302, TCEASTBANK, Browne, Michael Dennis, 4 credits
This is a workshop for experienced writers of poetry. We start the course by critiquing three poems by each member of the class and then go on to critiques of individual poems for the rest of the semester. We exchange written comments on each poem. Students are also encouraged to keep notebooks, to memorize, and to bring to class favorite poems and statements on poetry and poetics for discussion and reading. Each session begins with a writing exercise. At the end of the semester, students turn in a portfolio of poems, including (typically) some revisions and a statement of self-assessment.

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ENGW 5106 Advanced Literary Nonfiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
25059 -001 WKS, 04:15 P.M. - 06:45 P.M., M (09/06/2005 - 12/14/2005), LindH 216, TCEASTBANK, Hampl, Patricia, 4 credits
This workshop in literary non-fiction is designed for MFA and other advanced graduate students. The word "non-fiction" will be defined liberally—by the work students present in the workshop. The basic assumption, however, is that students will be working in such forms as the personal essay, memoir, or other narrative modes which may not classed as memoirs but which have a strong first-person voice. This includes projects that might be classed as prose poetry or involve literary journalism (that is, heavily researched projects, involving interviews and background). In other words—a wide and generous range, wholly dependent on the writers in the class. We will follow a straightforward workshop format in which the lion's share of class time will be devoted to a review of student work. Each student should expect to have two mss., each 10-15 pages in length, reviewed during the semester. Students are responsible for photocopying their mss. for all members of the workshop and delivering these to class one week before discussion. Note: it is possible, depending on enrollment, that we may do a cycle of 3 reviews per student. Information on this will come closer to fall semester. The strong workshop emphasis assumes that these mss. will be new works, written during the semester (or, at the beginning of the semester, fresh from the summer), although they may be parts of longer, ongoing projects. We will also have time for shorter “check-in” readings and discussion throughout the semester so that people will not be wholly dependent for response on the two big reviews. The class should be seen as an opportunity to generate new work as well as to review mss. for critique. In addition to this central focus on student work, a very limited reading list will give us a chance to consider strategies and styles of other contemporary writers of literary non-fiction. This reading list will be available by summer, 2005. Further information about the first day plans will be released at that time as well.

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ENGW 5205 Screenwriting

(prereq Jr or sr, one EngW 3xxx course, dept consent permission number available in creative writing office)
22223 -001 WKS, 06:20 P.M. - 08:50 P.M., M (09/06/2005 - 12/14/2005), AmundH 104, TCEASTBANK, 4 credits
A hands-on advanced workshop for students with experience in creative writing and/or a working knowledge of basic screenplay format. Students’ scripts-in-progress may be either a complete short film or an excerpt from a feature-length film. Class critiques will emphasize issues of imagery, characterization, plot and structure, as well as the creative process within screenwriting. Also expect in-class screenings, guests, and nuts and bolts discussion about story pitches, synopses and other vagaries of the professional industry. For advanced undergraduates, graduate students, and writers from the community interested in continuing education. Non-MFA students must either be a junior or a senior with at least one completed 3000-level EngL/EngC/EngW course. Students need not be English majors. Application form available in 209 Lind.

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ENGW 5310 Reading as Writers

(max crs 8; 2 repeats allowed; prereq grad student, dept consent)
21525 -001 WKS, 04:15 P.M. - 06:45 P.M., Tu (09/06/2005 - 12/14/2005), LindH 320, TCEASTBANK, Hampl, Patricia, The Essay, 4 credits, Topic prereq Grad student
Meets with: ENGL 5090 section 002
This course will be devoted to what may be the most wily genre in contemporary letters. The essay is written not only by "essayists," but by poets, fiction writers, people who don't even consider themselves writers—just about anyone who wishes to convey a personal response to something or other. As the most imprecise of forms (sometimes reading like a short story, sometimes pure memoir, sometimes an inquiry, a rant, a speculation, a protest, a commemoration, a travelogue or elegy, sometimes verging on criticism, occasionally lapsing into private meditation, looking now like a prose poem, now like a call to arms), the essay is everywhere around us—in books, magazines, the op/ed pages of newspapers, on radio and television "commentary." Sometimes it’s even stand-up comedy. The purpose of our survey will be to consider individual masters of the form (modern, but especially contemporary writers), but also to consider the different kinds of writing that shelter under the big umbrella called "the essay." The course will be anchored by four book-length essays or collections by a single writer, partly to demonstrate the broad canvas possible for this typically short form. In between these book-length works, we will make our way through a wealth of shorter essays organized (roughly) along sub-genres (travel writing, memoir, speculation, literary criticism, etc). In addition, we will spend some time studying a range of publications where some of the best essays of the day are being published in an attempt to know the current market for essays in literary depth, not solely as a list of "places that take essays." The idea here is to give depth-of-field to the world of the essay, not simply to the writing of essays. The personal essay in all its modalities does have one enduring characteristic—-the presence of the first person voice. Therefore, we will also pay attention, over the span of the semester, to the ways in which it is possible for the writer to be present as a self, a consciousness, as witness, observer, thinker, ponderer or protagonist (there are many choices about the kind of "presence" at stake in any given work). In other words, we will have the opportunity to consider style in an especially thoughtful way. The syllabus will be prepared by summer 2005. The beauty of the form—and of the long semester—is that we can read a lot by a lot of different essayists. This is a reading course and there is no workshop component. But there will be an opportunity, on a regular basis, to write brief essays in this course, and, on a revolving basis, we will hear work read aloud in class. The point of this writing will not be to present it for group workshop discussion, but rather to give each writer the chance to describe briefly (as one does when introducing a piece at a reading) the occasion and experience of writing the essay. In other words: there will be an on-going chance to be an essayist in this course as well as to read essays. Reading, however, is the centerpiece of our endeavor. The reading assignment for the first class meeting will be announced by summer. Please be responsible for getting this information from the Creative Writing office.

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ENGW 5993 Directed Study in Writing

(max crs 18; 18 repeats allowed; prereq instr consent, dept consent, college consent)
15003 -001 DST (09/06/2005 - 12/14/2005), TCEASTBANK, 1 - 4 credits
19932 -002 DST (09/06/2005 - 12/14/2005), TCEASTBANK, 1 - 4 credits

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ENGW 8101 Reading Across Genres

(S-N only, unless otherwise noted; prereq Creative writing MFA student, dept consent)
14436 -001 SEM, 04:15 P.M. - 06:45 P.M., W (09/06/2005 - 12/14/2005), LindH 202, TCEASTBANK, Schumacher, Julie, 4 credits
This course is designed for first-semester MFA graduate students. Class members will read and write fiction, nonfiction, and poetry, and will meet with Creative Writing Program faculty members and writers from the Twin Cities community who work in those genres. Students will contribute to the 8101 web site, and will be encouraged to explore the characteristics of various forms of writing as well as the boundaries (if any) between them. Class time will involve workshops, discussion of published work, and author visits.

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ENGW 8333 FTE: Master's

(No Grade Associated, unless otherwise noted; prereq Master's student, adviser and DGS consent)
20036 -001 THE, TCEASTBANK, 1 credit

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ENGW 8990 MFA Creative Thesis

(max crs 48; 24 repeats allowed; prereq 8140, 8150, 8160, creative writing MFA student, instr consent)
17218 -001 THE (09/06/2005 - 12/14/2005), TCEASTBANK, 2 - 8 credits
19498 -002 THE (09/06/2005 - 12/14/2005), TCEASTBANK, 2 - 8 credit

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EngC

ENGC 5051 Graduate Research Writing Practice for Non-native Speakers of English

(prereq Grad student) 
20577 -001 WKS, 12:45 P.M. - 02:00 P.M., Tu,Th (09/06/2005 - 12/14/2005), LindH 229, TCEASTBANK, 3 credits

20578 -002 WKS, 04:00 P.M. - 05:15 P.M., Tu,Th (09/06/2005 - 12/14/2005), EddyH 102, TCEASTBANK, 3 credits

24845 -003 WKS, 02:30 P.M. - 03:45 P.M., Tu,Th (09/06/2005 - 12/14/2005), TCEASTBANK, 3 credits

ENGC 5052 Graduate Research Presentations and Conference Writing for Non-Native Speakers of English

(prereq Grad student, non-native speaker of English or instr consent)
prereq Grad student, non-native speaker of English or instr consent)
24765 -001 LEC, 12:45 P.M. - 02:00 P.M., Tu,Th (09/06/2005 - 12/14/2005), LindH 340, TCEASTBANK, 3 credits

Professor Jani Scandura leads graduate seminar

Professor Jani Scandura leads graduate seminar