The Hunters: Moonsong Chapter Forty-One

It appeared as though he and Bonnie had been standing by everlastingly in the minuscule back office of the library, Matt idea. They had stressed to get a sound, to attempt to pick up anything at al about what was going on down there. Bonnie paced, wringing her hands and gnawing her lips, and he inclined toward the wal , head brought down, and kept a decent grasp on Samantha's fight. To be safe. He thought about al the entryways and sections and passages down there, a considerable lot of which he had no clue about where they drove, however he didn't understand the soundproofing was so acceptable. They hadn't heard a thing. At that point out of nowhere the trapdoor was pushing up, and Matt strained, raising the fight, until he saw Elena's face. Meredith, Elena, Stefan, and Damon moved out, shrouded in blood, yet basical y fine, if the anxious way Elena and Meredith were tel ing Bonnie what occurred, their words tumbling over one another, was any sign. â€Å"Ethan's dead,† Stefan told Matt. â€Å"There were some different Vitales down there in the battle, however none of the vows. He'd sent them out to hunt.† Matt felt wiped out and peculiarly glad simultaneously. He'd envisioned them dead at Damon and Stefan's hands, Chloe, al his companions from promising. In any case, they weren't. Not dead, not genuine y. In any case, changed, vampires now. â€Å"You're going to chase them,† he stated, pointing his words at Stefan and Damon, and at Meredith, as well. She gestured, her face settled, and Damon turned away. â€Å"We have to,† Stefan let him know. â€Å"You know that.† Matt gazed hard at his shoes. â€Å"Yeah,† he stated, â€Å"I know. Be that as it may, on the off chance that you get an opportunity, perhaps converse with some of them? In the event that you can, in the event that they're sensible and nobody's in harm's way? Perhaps they could figure out how to live without kil ing individuals. In the event that you gave them how, Stefan.† He scoured at the rear of his neck. â€Å"Chloe was †¦ uncommon. What's more, different promises, they were acceptable individuals. They didn't have a clue what they were getting into. They merit a chance.† Everybody was quiet, and, after a second, Matt admired discover Stefan in regards to him, his eyes dull green with compassion, his mouth pul ed tight in lines of torment. â€Å"I'l do my best,† he said generous. â€Å"I can guarantee you that. Be that as it may, new vampires †vampires when all is said in done, genuine y †can be eccentric. We probably won't have the option to spare any of them, and our need must be the honest. We will attempt, though.† Matt gestured. His mouth tasted harsh and his eyes consumed. He was starting to acknowledge exactly how tired he was. â€Å"That's about as well as can be expected expect,† he said generally. â€Å"Thank you.† â€Å"So there's an entire room ful of dead vampires down there?† Bonnie asked, wrinkling her nose in disturb. â€Å"Pretty much,† said Elena. â€Å"We fastened the entryways shut once more, yet I wish we could shut the chamber off more for all time. Somebody will go down there possible y, and the exact opposite thing this grounds needs is another homicide examination, or another abhorrent legend.† â€Å"Ta-da!† Bonnie stated, smiling brilliantly and pul ing a little sack out of her pocket. â€Å"Final y something I can do.† She held the sack up. â€Å"Remember al the hours Mrs. Blossoms caused me to spend considering herbs? All things considered, I know spel s for locking and warding, and I have the herbs to utilize directly here. I figured they may prove to be useful, when Matt revealed to us we were setting off to a mystery underground chamber.† She looked so satisfied with herself that Matt needed to grin a little notwithstanding the greatness inside him at the idea of Chloe and the others some place out in the night. â€Å"They probably won't work for over a day or two,† she included unobtrusively, â€Å"but they'l unquestionably dishearten individuals from exploring the trapdoor for that long.† â€Å"You're a miracle, Bonnie,† Elena stated, and precipitously embraced her. Stefan gestured. â€Å"We can dispose of the bodies tomorrow,† he said. â€Å"It's excessively near sunrise to do it now.† Bonnie got option to work, sprinkling dried plants over the trapdoor. â€Å"Hyssop, Solomon's seal, and damiana leaves,† she said when she saw Matt watching her. â€Å"They're for fortifying of locks, assurance from underhandedness, and general insurance. Mrs. Blossoms dril ed me on this stuff so much I last y got them al down. It's really awful I didn't make them help me with my schoolwork in secondary school. Possibly I would have taken in a portion of those French verbs.† Damon was watching them, his eyes half hooded. â€Å"We should search for the new vampires, too,† he said. â€Å"You realize vampires aren't pack creatures. They won't chase together for long. When they split up, we can pick them off,† he told Stefan. â€Å"I'm coming, too,† Meredith said. She took a gander at Damon chal engingly. â€Å"I'l simply walk Matt home and afterward get together with you both.† Damon grinned, an exceptionally comforting grin that Matt had never observed him direct at Meredith. â€Å"I was conversing with you, as well, hunter,† he said. â€Å"You've gotten better.† After a second, she grinned back, a hilarious spot of her lips, and Matt idea he saw something that may be the beginnings of kinship glimmering between them. â€Å"So the Vitales were certainly behind al the homicides and disappearances?† Matt asked Stefan, feeling wiped out. How might he have invested such a great amount of energy with Ethan and not presumed that he was a killer? Bonnie's face went so white that her couple of spots demonstrated like minimal dull specks on plain paper. And afterward her shading returned flooding, her cheeks and ears turning a splendid pink. She climbed precariously to her feet. â€Å"I ought to go see Zander,† she said. â€Å"Hey,† Matt stated, frightened, and moved to obstruct the entryway. â€Å"There's stil an entire pack of vampires outside, Bonnie. Trust that someone will walk you over.† â€Å"Not to specify that you have other commitments,† Damon said dryly, looking important y at the herbs dispersed over the trapdoor. â€Å"After you work your witchy magic, at that point you can go see your pet.† â€Å"We're heartbroken, Bonnie,† Meredith stated, moving awkwardly starting with one foot then onto the next. â€Å"We ought to have believed you to know a hero when you saw one.† â€Å"Right! Al is forgiven,† Bonnie said brilliantly, and thudded down before the trapdoor once more. â€Å"I simply need to state the spel .† She ran her hands through the herbs. â€Å"Existo signum,† she mumbled. â€Å"Servo quis est intus.† As she scooped a portion of the herbs over into her pack, Bonnie continued grinning, and halting, and gazing into space, and afterward skipping a bit. Matt grinned at her sluggishly. Useful for Bonnie. Somebody should have an upbeat closure. He felt a solid, slender hand take his and went to see Meredith adjacent to him. She grinned sympathetical y at him. Close by, Elena laid her hand likely on Stefan's arm, and the two of them had their eyes on Bonnie. Damon stood stil , watching them al with a practically affectionate articulation. Matt inclined toward Meredith, helped. Regardless of what occurred, in any event they were together. His actual companions were with him; he had gotten back home to them finally. The sun was low in the east when Bonnie moved up the emergency exit, her feet banging on each progression. As she came over the side of the structure, she saw Zander sitting with his back against the unpleasant cement wal at the edge of the rooftop. He went to gaze at her as she came toward him. â€Å"Hi,† she said. She'd been so eager to see him on her way here, enough so that Elena and Meredith got over their blame and began to snicker at her, yet now she felt odd and awkward, similar to her head was too huge. It was, she understood, all out y conceivable that he wouldn't have any desire to converse with her. After al , she'd blamed him for being a killer, which was a really serious mix-up for a sweetheart to make. â€Å"Hi,† he said gradually. There was a long respite, and afterward he praised the solid close to him. â€Å"Want to sit down?† he inquired. â€Å"I'm simply viewing the sky.† He faltered. â€Å"Ful moon in two or three days.† Referencing the ful moon felt like a chal enge, and Bonnie settled close to him, at that point pressed her hands together and bounced directly in. â€Å"I'm sorry I cal ed you a kil er,† she said. â€Å"I know since I wasn't right to blame you for being liable for the passings nearby. I ought to have confided in you more. It would be ideal if you acknowledge my apology,† she completed in somewhat surge. â€Å"Because I miss you.† â€Å"I miss you, too,† Zander said. â€Å"And I comprehend it was a shock.† â€Å"Seriously, however, Zander,† Bonnie stated, and pushed him a little with her hip. â€Å"You just tel me you're a werewolf? Did you get chomped when you were a child or something? Since I know getting chomped is the best way to turn into a werewolf without kil ing somebody. Furthermore, OK, I know you're not the kil er now, yet Meredith saw you with a young lady who'd quite recently been assaulted. What's more, †¦ and you had wounds, genuine y awful wounds all over. I think I reserved each privilege to think something was hinky with you.† â€Å"Hinky?† Zander chuckled a bit, yet there was an edge of pity to it, Bonnie idea. â€Å"I get it's sort of hinky, on the off chance that you need to put it that way.† â€Å"Can you explain?† Bonnie inquired. â€Å"Okay, I'l try,† Zander said insightful y. He came to down and grasped her hand, turning it over in his and playing with her fingers, pul ing them softly. â€Å"As you obviously know, most werewolves are made either by being nibbled, or by having the werewolf infection in their family and actuating it by kil ing somebody in an extraordinary custom. Thus, either a horrendous assault, which normal y messes the casualty up, or a purposeful demonstration of fiendishness to get the intensity of the wolf.† He frowned. â€Å"It sort of clarifies why werewolves have such a terrible re

Examining a Business Failure

Looking at a Business Failure Free Online Research Papers At the point when a business bombs the causes can be wide going, from poor administration choices, to a downturn in the economy, to insufficient income, to not ready to contend with bigger opponents, to give some examples. In any case, when the explanation a business fizzles is because of something like avarice then a business disappointment takes on an entirely different significance. Tyco Corporation and Taxes Tyco CEO Dennis Kozlowski was not the primary individual from corporate America to get somewhat insatiable, and he won't be the last. Notwithstanding, Mr. Kozlowski settled on a choice that end up being one that cost him his activity, yet cost his organization its notoriety, its investors and partners their cash and trust, its board and a few workers of Tyco their employments, and the open their trust in the once great name of the organization he spoke to. So for what reason did Mr. Kozlowski do this, since he and others who encompassed him at Tyco figured they could swindle the United States Government out of a large number of dollars in Federal Taxes, no, straightforward it was insatiability. As per reports in 2002 Mr. Kozlowski’s destruction came when some sporadic exchanges went to the consideration of the New York State Banking Department managing moves into the financial balance of a top of the line craftsmanship vendor over the time of a couple of brief days. These exchanges, in the seven figure dollar territory, lead them to Mr. Kozlowski and the Tyco examination started to disentangle from that point. What was in the end found was Mr. Kozlowski’s capacity to abstain from paying over $13 million in New York State and City charges, and Tyco’s capacity to set itself up as a partnership situated in charge inviting Bermuda with branches in Barbados, the Cayman Islands, and Jersey, so as to slice its 2001 duty bill by $600 million. Tyco made the round of finding better approaches for abstaining from paying expenses into another work of art, as per some before the place of cards came tumbling down and the Security and Exchange Commission found Mr. Koz lowski and his co-backstabbers. What Could Have Been Done The general population may never really realize what happened in the background at Tyco during Mr. Kozlowski’s rule. One can just induce from reports that have been distributed that Tyco’s Board of Directors and upper level administration comprehended what was happening with respect to the innovative ways that expenses were abstaining from being paid. Be that as it may, in light of the fact that nobody ventured up and said anything, or so the open knows, or did anything before the New York State Banking Commission and the Security and Exchange Commission got included, one can construe that this conduct was excused and hence, endorsed. On the off chance that there had been a part or individuals from the Board of Directors or upper administration ready to take or accept a position of authority or even fill the role of informant maybe the disaster that turned into the chaos at Tyco could have been halted some time before 2002. There may have been somebody who attempted and was either halted in their tracks, maybe compromised with lawful activity or terminated, people in general may never know. Be that as it may, inner techniques ought to have been set up and somebody ought to have ventured up and said that the organization ought to be paying its assessment commitment to the United States Government. The organization had moved its central command to Bermuda in 1997, somebody ought to have said or accomplished something at that point, maybe this all or some of it could have been maintained a strategic distance from. On account of Mr. Kozlowski’s individual assessment issues, the Board of Directors and upper admi nistration can't be answerable for its CEO’s absence of individual morals, yet most organizations do have a type of condition in the agreement upper administration signs concerning conduct. One would accept that Mr. Kozlowski’s individual duty filings would fall under such a proviso, and would likewise must be investigated every year for inconsistencies. Maybe if such a statement isn't a piece of these agreements organizations should consider making them some portion of them, to maintain a strategic distance from simply such a situation as Mr. Kozlowski’s. End Tyco’s disappointment as a business was not because of a downturn in the economy or an income issue, yet something different altogether. It was because of avarice, and the desire to do anything conceivable to abstain from paying duties to the United States Government. Notwithstanding one sets of sharp eyes seeing some odd financial exchanges, the Tyco Corporation’s tax avoidance plan may even now be going unnoticed today. References Byrnes, N. (2002, December 23). The Hunch That Led to Tyco’s Tumble. Business Week Online Byrnes, N., Brady, D. (2002, February 4). What to Look for in Tyco’s Numbers. Business Week Online Mintzberg, H., Lampel, J., Quinn, J. B., Goshal, S. (2003). Association. In The Strategy Process: Concepts, Contexts, Cases, Global fourth Edition (pp. 207-241). : Prentice Hall. Symonds, W. C., Smith, G. (2002, July 1). The Tax Games Tyco Played. Business Week Online Research Papers on Examining a Business FailureThe Effects of Illegal ImmigrationThe Project Managment Office SystemTwilight of the UAWNever Been Kicked Out of a Place This NiceDefinition of Export QuotasIncorporating Risk and Uncertainty Factor in CapitalStandardized TestingPETSTEL investigation of IndiaAnalysis of Ebay Expanding into AsiaUnreasonable Searches and Seizures

A Closer Look at Trait Theories of Personality

A Closer Look at Trait Theories of Personality If someone asked you to describe a close friends personality, what kind of things would you say? A few things that might come to mind are descriptive terms, such as outgoing, kind and even-tempered. All of these represent traits. What exactly does this the word trait mean? A trait can be thought of as a relatively stable characteristic that causes individuals to behave in certain ways. The trait approach to personality is one of the major theoretical areas in the study of personality. The trait theory suggests that individual personalities are composed of these broad dispositions.?? Unlike many other theories of personality, such as psychoanalytic or humanistic theories, the trait approach to personality is focused on differences between individuals. The combination and interaction of various traits form a personality that is unique to each individual. Trait theory is focused on identifying and measuring these individual personality characteristics.?? Gordon Allport’s Trait Theory In 1936, psychologist Gordon Allport found that one English-language dictionary alone contained more than 4,000 words describing different personality traits. He categorized these traits into three levels:?? Cardinal Traits: These are traits that dominate an individual’s whole life, often to the point that the person becomes known specifically for these traits. People with such personalities can become so well-known for these traits that their names are often synonymous with these qualities. Consider the origin and meaning of the following descriptive terms: Machiavellian, narcissistic, Don Juan, Christ-like, etc. Allport suggested that cardinal traits are rare and tend to develop later in life. Central Traits: These are the general characteristics that form the basic foundations of personality. These central traits, while not as dominating as cardinal traits are the major characteristics you might use to describe another person. Terms such as intelligent, honest, shy, and anxious are considered central traits. Secondary Traits: These are the traits that are sometimes related to attitudes or preferences. They often appear only in certain situations or under specific circumstances. Some examples would be getting anxious when speaking to a group or impatient while waiting in line. Raymond Cattell’s Sixteen Personality Factor Questionnaire Trait theorist Raymond Cattell reduced the number of main personality traits from Allport’s initial list of over 4,000 down to 171. He did so primarily by eliminating uncommon traits and combining common characteristics. Next, Cattell rated a large sample of individuals for these 171 different traits. Then, using a statistical technique known as factor analysis, he identified closely related terms and eventually reduced his list to just 16 key personality traits. According to Cattell, these 16 traits are the source of all human personality. He also developed one of the most widely used personality assessments known as the Sixteen Personality Factor Questionnaire.?? Analyzing Personality Factors for Counseling and Career Guidance Eysenck’s Three Dimensions of Personality British psychologist Hans Eysenck developed a model of personality based upon just three universal trails.?? Introversion/Extraversion:  Introversion involves directing attention to inner experiences, while extroversion relates to focusing attention outward on other people and the environment. A person high in introversion might be quiet and reserved, while an individual high in extraversion might be sociable and outgoing. Neuroticism/Emotional Stability:  This dimension of Eysenck’s trait theory is related to moodiness versus even-temperateness. Neuroticism refers to an individual’s tendency to become upset or emotional, while stability refers to the tendency to remain emotionally constant. Psychoticism:  Later, after studying individuals suffering from mental illness, Eysenck added a personality dimension he called psychoticism to his trait theory. Individuals who are high on this trait tend to have difficulty dealing with reality and may be antisocial, hostile, non-empathetic, and manipulative. The Five-Factor Theory of Personality Both Cattell’s and Eysenck’s theory have been the subject of considerable research. This has led some theorists to believe that Cattell focused on too many traits, while Eysenck focused on too few. As a result, a new trait theory often referred to as the Big Five theory emerged. This five-factor model of personality represents five core traits that interact to form human personality.?? While researchers often disagree about the exact labels for each dimension, the following are described most commonly: ExtraversionAgreeablenessConscientiousnessNeuroticismOpenness The Big 5 Personality Traits Assessing the Trait Approach to Personality Most theorists and psychologists agree that people can be described based on their personality traits. Yet, theorists continue to debate the number of basic traits that make up human personality. While trait theory has an objectivity that some personality theories lack (such as Freud’s psychoanalytic theory), it also has weaknesses. Some of the most common criticisms of trait theory center on the fact that traits are often poor predictors of behavior. While an individual may score high on assessments of a specific trait, he may not always behave that way in every situation. Another problem is those trait theories do not address how or why individual differences in personality develop or emerge. A Word From Verywell The study of personality and what shapes and influences each person is fascinating. As you can see, those who study this field have varying opinions. However, they do build off one another and theorists tend to refine the work of their predecessors, which is common in all scientific pursuits. What is most important to understand is that everyone has different personality traits. We each have certain traits that dominate our personality with a myriad of traits that can arise in different situations. Also, our traits can change over time and can be shaped by our experiences.

Ordinary Germans and Soldiers are also Guilty for the...

Ordinary Germans and soldiers are culpable in the Holocaust in addition to Hitler and the Nazi inner circle. They are guilty for the Holocaust as well because of their long-standing antisemitism, knowledge of the enormities, and actual assistance in the Holocaust. Although Hitler was the leading force for the Holocaust, he was supported by ordinary Germans and soldiers who agreed with his beliefs and participated in the atrocities just as much. Antisemitism was the beginning and the cause of the Holocaust. The term antisemitism was actually created by a German Journalist by the name of Wilhelm Marr, created to give a name for the hatred for Jews (Ezard). Antisemitism fueled the Holocaust, the German hatred for the Jews was there even before Hitler as described by historian Robert Gellately: â€Å"What the Nazis actually did was to unshackle and thereby activate Germans’ pre-existing, pent-up antisemitism† (qtd in Ezard). One of the major decisions Hitler made inspiring this hatred was the creation of the Nuremberg Laws in 1935, these laws made Jew a completely different race, and created Aryan into a superior race (Ezard). These laws made it official that the Jews were a lesser â€Å"race,† giving another excuse for the people to wreak hatred upon them. If the Germans had tried to stop the Hitler and the Nazis the Holocaust couldn’t have happened (Mckay). If even half the Germans had resisted the damage would have been much less drastic. 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Hiv And Acquired Immunodeficiency Syndrome - 1557 Words

Many people do not understand what Human Immunodeficiency Virus (HIV) is and the difference been HIV and Acquired Immunodeficiency Syndrome (AIDS). As with other sexually transmitted diseases, HIV is often stigmatized due to the method of transmission. HIV is a virus that destroys CD4 T cells, which are immune cells in the body (Forsman Weiss, 2008). When the immune cells in the body fall to very low levels, this is when HIV progresses into AIDS. Since the immune system is weak a person can die from AIDS because of the inability to fight off infections, such as tuberculosis or pneumonia (Forsman Weiss, 2008). Approximately 1.7 million people in the United States have been infected with HIV, and more than 600,000 have died (AIDS.gov U.S. Department of Health Human Services, 2012). These numbers are very high, since the epidemic was only identified by the Centers for Disease Control and Prevention (CDC) in the 1980s (Krause, May, Butler Jr, 2013). The number of those infect ed with the disease are not accurate because researchers believe many people infected with HIV have not been diagnosed yet (Shahani, Hartman, Troisi, Kapadia, Giordano, 2012; Hallmark et al., 2014). Since it’s discovery there have been great improvements in the treatment of HIV and AIDS patients, although there is still no cure. There is an increased need for the diagnosis and treatment of the disease for men and women in the U.S. Those infected with HIV are not receiving the health careShow MoreRelatedHuman Immunodeficiency Virus ( Hiv ) And Acquired Immunodeficiency Syndrome1807 Words   |  8 PagesHuman Immunodeficiency Virus MGH Institute of Health Professions Joshua Igoe-Muzorewa â€Æ' Introduction Human Immunodeficiency Virus (HIV) and Acquired Immunodeficiency Syndrome (AIDS) continues to be an incredibly important health concern for not only the United States (US) but across the Globe (Centers for Disease Control and Prevention [CDC], 2016a). 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Unprecedented efforts and resources have been mobilized to fight the infection worldwide. While obvious progress has been made, HIV infection still hit hard and the field of public health continues actively to raise awareness about this issue and help affected people. Public health professionals constantly look for new ways to reach high-risk populations, butRead MoreHuman Immunodeficiency Virus ( Hiv ) And Acquired Immuno Deficiency Syndrome2096 Words   |  9 PagesHuman Immunodeficiency Virus (HIV) and Acquired Immuno Deficiency Syndrome (AIDS) are complex diseases that are generally misunderstood and cast a stereotype of the people who are infected. A disease that is relatively new in comparisons to some diseases came to light as a public issue in the 1980’s and is now known around the world. HIV and AIDS attack the T-cells and CD4 cells of a person’s body which make them have symptoms similar to the flu. This disease is exactly what the name describes Read MoreThe Human Immunodeficiency Virus ( Hiv ) Or Acquired Immune Deficiency Syndrome ( Aids )1281 Words   |  6 PagesA major epidemic across the world is the human immunodeficiency virus (HIV) or acquired immune deficiency syndrome (AIDS). Accredited with 10% of the HIV cases annually is injection drug use (AIDS.gov, 2014). A study done in 2010 showed that injection drug use affected nearly 47,500 new HIV infections in the United States. With 625 being males and 38% being female. Breaking it down even further, African Americans made up 50% of the newly affecting using injection drugs, Whites 26%, and Latinos/ Hispan icsRead MoreThe Human Immunodeficiency Virus ( Hiv ) And The Acquired Immune Deficiency Syndrome ( Aids )2072 Words   |  9 PagesIntroduction The Human Immunodeficiency Virus (HIV) and the Acquired Immune Deficiency Syndrome (AIDS) do not seem to be a major topic of discussion in the World today. Especially within the United States, HIV and AIDS are not conversed about as openly as perhaps it was in the past two decades. According to the Centers for Disease Control and Prevention (CDC) at the end of 2010 there were approximately 1.1 million people living in the United States with the HIV virus. Of those 1.1 million peopleRead MoreHuman Immunodeficiency Virus ( Hiv ) / Acquired Immune Deficiency Syndrome ( Aids )1449 Words   |  6 PagesHuman Immunodeficiency Virus (HIV) /Acquired immune deficiency syndrome (AIDS) is present around the world. HIV weakens the body’s immune system by attacking its defences against disease this later develops into AIDS which causes for the body to be unable to fight of illness and diseases it usually could (Afao.org.au, 2015). Chad a country of Sub Saharan Africa has an estimated 210,000 people living with HIV/Aids. Working to decrease this a number promotional incentives are being run such as theRead MoreHuman Immunodeficiency Virus Infection And Acquired Immune Deficiency Syndrome ( Hiv / Aids )898 Words   |  4 Pages Pathogenic Agent Identified Human immunodeficiency virus infection and acquired immune deficiency syndrome (HIV/AIDS) Virus after the infection of the human immunodeficiency virus (HIV), the immune system is damaged so the body become targets of many opportunistic diseases, which called syndrome, rather than just a type of disease. [1] History of Pathogenic Agent The clinical of AIDS was first observed by the US Centers for Disease Control and Prevention in 1981. [2] The region most recent outbreakRead MoreThe Human Immunodeficiency Virus, Or Hiv, The Root Cause Of Aids Or Acquired Immune Deficiency Syndrome?1532 Words   |  7 PagesSince its discovery in 1981, the scientific community has put up with the struggle of finding a vaccine for the human immunodeficiency virus, or HIV, the root cause of AIDS or acquired immune deficiency syndrome. Although numerous advancements in combating the virus have helped to reverse the epidemic, there is still no known cure. However, recent studies have shown some results that may possibly be the precursors to eradicate the disease. One example would be the trials of a possible vaccine conducted

English William Shakespeare Free Essays

string(598) " Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration 18th Century Literature 353 Studies in Romantic Literature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 12:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T\." ?ENGLISH NOTES 2012-2013 Advising and Preregistration ONLY declared English majors (who have formally declared their major by Monday, April 30th) may preregister for English classes via the web on Monday, May 7th during their registration appointment times according to the following schedule: The last day to add a class for Fall Quarter is Friday, September 7th. The last day to drop a class for Fall Quarter is yet to be determined. PLEASE NOTE: The Registrar has indicated that students may preregister for a maximum of two courses in any one department. We will write a custom essay sample on English William Shakespeare or any similar topic only for you Order Now Students can sign up for additional courses in that department during regular advanced registration. Information Sources When you declare, the undergraduate program assistant automatically signs you up for the departmental listserv. Consult your email regularly for announcements about upcoming deadlines and special events. Additional information is posted in University Hall, published in the WCAS column in the Daily Northwestern, and posted on the English Department web page at URL: www. english. northwestern. edu. Also, up-to-date information on courses can be found on the Registrar’s home page at: http://www. registrar. northwestern. du/ Contact the English Department: Northwestern University Department of English 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http://www. english. northwestern. edu/ english-dept@northwestern. edu 1 ?ENGLISH NOTES 2012-2013 Applications for the following are available early spring quarter through either the English O ffice in University Hall 215 or the departmental website at www. english. northwestern. edu Annual Writing Competition The English Department will be conducting its annual writing competition Spring Quarter, with prizes to be awarded in the categories of essay, fiction, and poetry. Announcements about specific prizes, eligibility and submission will be available in the English office by April 1st. The following rules apply: 1) Students may not enter competitions for which they are not eligible. 2) Students may submit only one work per genre. 3) The maximum length for essay and fiction manuscript is 20 pages; the maximum length for a poetry manuscript is 10 pages or 3 poems. Students should submit only one copy of each work. The deadline for submission of manuscripts for the 2012 contest is Thursday, May 3rd by 3:00pm. Awards will be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined. A reception will follow. Literature Major 399 Proposals Individual projects with faculty guidance. Open to majors with junior or senior standing and to senior minors. Students interested in applying for independent study in literature during spring quarter should see the potential adviser as soon as possible. Guidelines for 399 are available in UH 215 and on the English webpage. Writing Major Honors Proposals Writing majors should apply for Honors in the spring of their junior year. The department will have application forms available early spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined. Literature Major 398 Honors Applications Literature majors who wish to earn honors may apply during the spring of their junior year for admission to the two- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is Professor Paul Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 4:30pm. Declaring the Major or Minor In the past, in order to declare the English Major or Minor, students needed to complete prerequisites. Prerequisites are no longer required to declare the Major or Minor. To declare the Major or Minor, pick up the appropriate declaration form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated office hours. At this point, the new major will choose a Departmental Advisor and become eligible for English preregistration in succeeding quarters. WCAS policy requires instructors to return student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distributed in any public place. **Reminder to Seniors: Seniors who have not yet filed their Petitions to Graduate must do so immediately. A Calendar of Course Offerings Taught by English Department Faculty *Class times and course descriptions are subject to change without notice. 105 Expository Writing 205 Intermediate Composition 206 Reading Writing Poetry MW 9:30-10:50 Webster MWF 11-11:50 Curdy MWF 1-1:50 Kinzie MWF 2-2:50 Curdy TTh 9:30-10:50 Goldbloom MWF 10-10:50 Bresland MW 9:30-10:50 Webster MW 3:30-4:50 Curdy T Th 12:30-1:50 Altman TTh 2-3:20 Breslin MW 11-12:20 Seliy MW 12:30-1:50 Donohue TTh 9:30-10:50 Goldbloom TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Bouldrey TTh 9:30-10:50 Bresland TTh 2-3:20 Bresland MWF 1-1:50 Lane (210-2) MWF 1-1:50 Gibbons MW 3:30-4:50 Curdy MWF 11-11:50 Webster MW 11-12:20 Seliy TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Biss MWF 2-2:50 Webster TTh 9:30-10:50 Kinzie TTh 11-12:20 Bouldrey MWF 11-11:50 Soni (210-1) 207 Reading Writing Fiction 208 Reading Writing Creative Non Fiction 210-2,1 English Literary Traditions (Additional Discussion Section Required) FALL WINTER SPRING Several Sections Offered Each Quarter Several Sections Offered Each Quarter ? 3 211 212 213 220 Gender Studies 231 234 270-1,2 273 275 298 302 306 307 Introduction to Poetry (Additional Discussion Section Required) Introduction to Drama Introduction to Fiction (Additional Discussion Section Required) The Bible as Literature (Additional Discussion Section Required) Gender Studies Introduction toShakespeare (Additional Discussion Section Required) American Literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American Literature (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Seminar in Reading and Interpretation History of the English Language Advanced Poetry Writing Advanced Creative Writing MWF 11-11:50 Gottlieb FALL WINTER SPRING TTh 9:30-10:50 Phillips MWF 12-12:50 Erkkila (270-1) MW 12:30-1:50 Kim MWF 11-11:50 Grossman TTh 9:30-10:50 Thompson TTh 3:30-:50 Roberts TTh 11-12:20 Breen TTh 12:30-1:50 Goldbloom MWF 12-12:50 N. Davis MWF 2-2:50 Feinsod TTh 11-12:20 Cutler TTh 3:30-4:50 Lahey MW 2-3:20 Gibbons TTh 2-3:20 Kinzie TTh 11-12:20 Froula MWF 11-11:50 Thompson MWF 12-12:50 Stern (270-2) TTh 9:30-10:50 Erkkila TTh 11-12:20 Phillips TTh 2-3:20 Harris TTh 12:30-1:50 Dybek TTh 3:30-4:50 Cross MWF 1-1:50 Manning MWF 10-10:50 Newman ?4 311 Studies in Poetry 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration 18th Century Literature 353 Studies in Romantic Literature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 1 2:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T. You read "English William Shakespeare" in category "Essay examples" Davis MWF 10-10:50 Breen MWF 11-11:50 Newman TTh 9:30-10:50 Masten TTh 11-12:20 Evans TTh 2-3:20 Grossman/Soni TTh 9:30-10:50 Soni MW 3:30-4:50 Lane MW 11-12:20 Weheliye MW 3:30-4:50 Hedman MW 9:30-10:50 Johnson MWF 1-1:50 Newman TTh 3:30-4:50 Harris MW 11-12:20 West MW 3:30-4:50 Evans TTh 12:30-1:50 Harris TTh 2-3:20 Sucich TTh 11-12:20 Roberts TTh 11-12:20 Lane TTh 12:30-1:50 Lahey TTh 9:30-10:50 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American Novel 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in Theory and Criticism 385 Topics in Combined Studies 386 Studies in Literature and Film 393- Theory Practice of Poetry FW/TS 394- Theory Practice of Fiction FW/TS 95- Theory Practice of FW/TS Creative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 12:30-1:50 Hedman TTh 4-5:20 Mwangi TTh 2-3:20 Mwangi MWF 11-11:50 Lahey MWF 2-2:50 Grossman MWF 10-10:50 Bouldrey TTh 3:30-4:50 Weheliye MWF 1-1:50 Leong MW 3:30-4:50 Leahy MW 12:30-1:50 Webster MW 12:30-1:50 Bouldrey MW 12:30-1:50 Bresland W 3-5 Breslin MWF 11-11:50 Hedman MW 1 2:30-1:50 Passin TTh 12:30-1:50 Cross MW 3:30-4:50 Stern TTh 2-3:20 Erkkila MWF 1-1:50 Cutler MW 2-3:20 Roberts TTh 12:30-1:50 Lahey MW 2-3:20 Froula TTh 2-3:20 N. Davis TTh 3:30-4:50 Leong MW 12:30-1:50 Webster/Curdy MW 12:30-1:50 Bouldrey/Seliy MW 12:30-1:50 Bresland/Bouldrey W 3-5 Breslin MW 9:30-10:50 diBattista MW 12:30-1:50 Passin TTh 11-12:20 Froula T 6-8:20 diBattista TTh 3:30-4:50 Cutler MWF 10-10:50 Smith TTh 12:30-1:50 Savage MWF 2-2:50 Soni MWF 1-1:50 Breslin MWF 11-11:50 Feinsod MW 12:30-1:50 Curdy MW 12:30-1:50 Seliy MW 12:30-1:50 Biss FALL WINTER SPRING ?6 399 Independent Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 [Prerequisite to English Major in Writing] Reading Writing Poetry Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the Anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Prerequisites: No prerequisites. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and in class participation of students’ understanding of poetry; improvement will count for a great deal with the instructor in estimating achievement. Texts include: An Anthology, a critical guide, 206 Reader prepared by the instructor, and the work of the other students. [Prerequisite to English Major in Writing] Reading Writing Fiction Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Prerequisites: English 206. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion of readings and principles; workshop of student drafts. Evaluation Method: Evidence given in written work and in class participation of students’ growing understanding of fiction; improvement will count for a great deal with the instructor in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Fall Quarter: Rachel Webster Averill Curdy Mary Kinzie Averill Curdy Winter Quarter: Rachel Webster Averill Curdy Toby Altman Paul Breslin Spring Quarter: Reg Gibbons Averill Curdy Rachel Webster ENG 207 MW 9:30-10:50 MWF 11-11:50 MWF 1-1:50 MWF 2-2:50 MW 9:30-10:50 MW 3:30-4:50 TTh 12:30-1:50 TTh 2-3:20 MWF 1-1:50 MW 3:30-4:50 MWF 11-11:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 Sec. 23 Sec. 24 Sec. 20 Sec. 21 Sec. 22 Fall Quarter: Goldie Goldbloom Winter Quarter: Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter: Shauna Seliy Goldie Goldbloom TTh 9:30-10:50 MW 11-12:20 MW 12:30-1:50 TTh 9:30-10:50 TTh 12:30-1:50 MW 11-12:20 TTh 12:30-1:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 ENG 208 [Prerequisite to English Major in Writing] Reading Writing Creative Non Fiction Course Description: An introduction to some of the many possible voices, styles, and structures of the creative essay. Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and 8 fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Prerequisites: English 206. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Note: Prerequisite to the English Major in Writing. Fall Quarter: moment, does it become possible to ignore or overlook the political projects embedded in these texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will consider how important it is to understand these texts from a political erspective, and wonder why this perspective is so often ignored in favor of psychologizing and subjectivizing readings. Teaching Method: Two lectures per week, plus a required discussion section. Evaluation Method: Regular reading quizzes (15%); class participation (25%); midterm exam (20%); final exam (20%); final paper (20%). Texts include: Beowulf; Mystery Plays; Chaucer, Canterbury Tales; More, Utopia; Sidney, Defense of Poesy; Shakespeare, Tempest and selected sonnets; Milton, Paradise Lost; Behn, Oroonoko; Swift, Gulliver’s Travels. ENG 210-2 English Literary Traditions Christopher Lane MWF 1-1:50 Winter Quarter Course Description: English 210-2 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement. This course is a chronological survey of important, representative, and highly enjoyable British works from Romanticism to the modern period (roughly the French Revolution to the First World War). Focusing on poetry, drama, essays, and several short novels, we’ll examine compelling themes, styles, movements, and cultural arguments, paying particular attention to the way literary texts are located in history. For perspective, the course also tackles several comparative issues in nineteenth-century art and intellectual history, drawing on such large-scale themes as tensions between individuals and communities, the narrative fate of women and men, and the vexed, uncertain role of authors as commentators on their social contexts. An overview of English literary history and its traditions during a fascinating century, English 210-2 provides excellent training in the analysis of fiction. Teaching Method: Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). John Bresland Winter Quarter: Brian Bouldrey John Bresland John Bresland Spring Quarter: Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-10:50 MW 9:30-10:50 TTh 9:30-10:50 TTh 2-3:20 MW 9:30-10:50 MWF 2-2:50 TTh 9:30-10:50 TTh 11-12:20 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ENG 210-1 English Literary Traditions Vivisvan Soni MWF 1 1-11:50 Spring Quarter Course Description: English 210-1 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement. This course is an introduction to the early English literary canon, extending from the late medieval period through the eighteenth century. In addition to gaining a general familiarity with some of the most influential texts of English literature, we will be especially interested in discovering how literary texts construct, engage in and transform political discourse. What kinds of political intervention are literary texts capable of making? What are the political implications of particular rhetorical strategies and generic choices? How do literary texts encode or allegorize particular political questions? How, at a particular historical ? 9 Evaluation Method: Two short analytical papers; one final essay; performance in discussion section; final exam. Texts include: The Norton Anthology of English Literature: The Major Authors (8th edition; volume B); Jane Austen, Sense and Sensibility (Penguin); Charles Dickens, Hard Times (Norton); Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy new or used copies of the editions specified. Texts available at: The Norris Center Bookstore. ENG 211 Introduction to Poetry: The Experience and Logic of Poetry Susannah Gottlieb MWF 11-11:50 Fall Quarter Course Description: The experience of poetry can be understood in it at least two radically different ways: as a raw encounter with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry includes both of these models, and theories of poetry from antiquity to the present day have grappled with these two dimensions of the poetic experience. In order to understand a poem, a reader must, in some sense, enter into its unique and complex logic, while nevertheless remaining open to the sometimes unsettling ways it can surprise us. In this class, we will read some of the greatest lyric poems written in English, as we systematically develop an understanding of the formal techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come prepared to encounter poems as new and unfamiliar terrain (even if you’ve read a particular poem before), as we methodically work through the formal elements of the poetic process. Teaching Method: Lectures and weekly discussion groups. Evaluation Method: Three papers (5-7 pages), weekly exercises, active participation in section discussions, and a final exam. Texts Include: The Norton Anthology of Poetry. ENG 212 Introduction to Drama: Modernism in Performance Susan Manning MWF 1-1:50 Spring Quarter Course Description: This survey course follows the emergence of modernism in diverse genres of theatrical performance—drama, dance, cabaret, and music theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late 19th century and through the first half of the 20th century, practices that have continued to inspire theatre artists into the present. Readings are complemented by film and video viewings and by excursions to Chicago-area theatres. Teaching Method: lecture with weekly discussion sections Evaluation Method: three short papers and a take- home final exam. Texts include: Noel Witts, ed. , The Twentieth- Century Performance Reader (3rd edition); Gunter Berghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction: Worlds in a Grain of Sand Christine Froula TTh 11-12:20 Winter Quarter Course Description: What is fiction? How is it different from history, biography, nonfiction? How and why do people invent and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course we’ll study a selection of fictional narratives from around the globe and from different historical moments, in a variety of prose and verse forms—short story, novella, novel, myth, story cycle, serial—and in visual and aural as well as literary media: ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound put it, literature is news that stays news, we’ll consider how these fictional works bring news from near and far. We’ll think about the traditions, and occasions of storytelling, the narrators who convey them, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one another, as well as to audiences and communities within and across cultures. We’ll consider whether and how each work’s historical origin and context may illuminate ? 10 the situation and conflict it depicts; and how its point of view, narrative voice, techniques of character- drawing, plot, imagery, dialogue, style, beginning and end help shape our questions and interpretations. As we taste some of â€Å"the rarest and ripest fruit of art which human thought has to offer,† in Nabokov’s words, we’ll seek to develop skills and awareness that will deepen our pleasure in the inexhaustible riches of imaginative literature. Teaching Method: Lecture and Discussion Evaluation Method: Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include: Texts and course packet TBA. Texts Include: Bible, New Revised Standard Version (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender Studies: Feminism as Cultural Critique Helen Thompson MWF 11-11:50 Winter Quarter Course Description: In this class, we will consider the origins and ongoing powers of feminism as a critique of culture. At its origins in the 1790s through the middle of the twentieth century, modern Western feminism fought on two fronts, condemning women’s legal and political disenfranchisement as well as more subtle practices and norms, like the wearing of corsets, that shored up women’s subordinate status at the level of everyday life. In this class, we will explore feminism in America after the legal and political battle has, to some extent, been won: we’ll examine the so-called second wave of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the feminist movement dedicated its critical energies to problems that persisted beyond women’s nominal political and legal enfranchisement. By disrupting everyday institutions like the Miss America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate just as powerfully as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, in this class we will encounter a variety of media: academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries. An ongoing goal of the class will be to explore the critical methodologies enabled by the second wave. What tools does second-wave feminism use to read culture? What tools does second-wave feminism use to re-tell history? The class will begin by looking at part of Simone de Beauvoir’s The Second Sex (French, 1949; English, 1953) to examine how its foundational claim that â€Å"one is not born, but rather becomes, a woman† invites us to analyze culture rather than nature. The remainder of the class is broken into units. Unit One, â€Å"Beauty,† includes the documentary â€Å"Miss . . . or Myth? † (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of women’s looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, â€Å"Housework/ Domesticity,† covers pivotal texts on women’s lives at home (â€Å"The Politics of Housework,† â€Å"The ENGLISH 220 The Bible as Literature Barbara Newman MWF 10-10:50 Combined w/ CLS 210 Spring Quarter Course Description: This course is intended to familiarize literary students with the most influential text in Western culture. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres and strategies in the Bible; the historical situation of its writers; the representation of God as a literary character; recurrent images and themes; the Bible as a national epic; the New Testament as a radical reinterpretation of the â€Å"Old Testament† (or Hebrew Bible); and the overall narrative as a plot with beginning, middle, and end. Since time will not permit a complete reading of the Bible, we will concentrate on those books that display the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah; the Gospels according to Luke and John, and the Book of Revelation. We will look more briefly at issues of translation; traditional strategies of interpretation (such as midrash, typology, and harmonization); and the historical processes involved in constructing the Biblical canon. Teaching Method: Three lectures, one discussion section per week. Evaluation Method: Two midterms and final exam, each worth 25% of grade; participation in sections; occasional response papers; some interactive discussion during lectures. ?11 Personal is Political,† â€Å"Why I Want a Wife,† and others); we will examine one mainstream reaction to the feminist critique of domestic labor, Ira Levin’s horror novel and adapted film The Stepford Wives. Unit Three, â€Å"Sex,† will look at second-wave feminist challenges to both the social and anatomical determinants of eroticism and pleasure (The Myth of the Vaginal Orgasm, Sex and the Single Girl, Lesbian Nation, Pornography); we will read one early 70s feminist novel (Erica Jong, Fear of Flying) and one early 70s mainstream romance (Janet Woodiwiss, The Flame and the Flower) to examine their contesting representations of women’s sexual desire and agency. In the course of this comparison, we’ll take up the issue of rape, or â€Å"rape culture† (Susan Brownmiller, Against our Will, and others); the material conditions and ideologies at stake in romance reading; and the charge that second-wave feminism reflected the concerns of only white middle-class women (bell hooks, Ain’t I A Woman? ). Unit Four of the class will look at feminist cultural production. We’ll look at avant-garde art (short films include Carolee Schneeman’s â€Å"Meat Joy,† Martha Rosler’s â€Å"Semiotics of the Kitchen,† and other videos, images, and performances) and artistic provocations (like Valerie Solanas, â€Å"The S. C. U. M. Manifesto†) to consider how these texts challenge high art and cultural values down to the present day. Macbeth, Henry V, Anthony and Cleopatra, Measure for Measure, and The Tempest. Teaching Method: Lectures with Q; required weekly discussion section. Evaluation Method: Attendance and section participation, two papers, midterm, final exam. Texts include: The required textbook is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at: Norris Center Bookstore. ENG 234 Introduction to Shakespeare Susie Phillips TTh 9:30-10:50 Fall Quarter Course Description: What spooks America? From the Puritan â€Å"city upon a Hill,† to Tom Paine’s Common Sense, to Emerson’s American Adam, America was imagined as a New World paradise, a place to begin the world anew. And yet, from the story of Pocahontas and John Smith, to the origins of the American Gothic in the Age of Reason, to Melville’s Moby Dick, American literature has been haunted by fantasies of terror, sin, violence, and apocalypse. Why? This course will seek to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a slave narrative, we shall seek to identify and understand the significance of the terrors—of the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypse—that haunt and spook the origins and development of American literature. Students will be encouraged to draw connections between past American fantasies and fears and contemporary popular culture and politics, from classic American films like Hitchcock’s Psycho to The Hunger Games, from American blues and jazz to Michael Jackson’s Thriller, from the Red Scare and the Cold War to the war on terror. Teaching method: Lecture and discussion; weekly discussion sections. Evaluation Method: 2 papers; quizzes; final examination. Texts Include: The Norton Anthology of American Literature: Beginnings to 1820 (Volume A; 8th edition); Charles Brockden Brown, Edgar Huntly; or Course Description: This course will introduce students to a range of Shakespeare’s comedies, tragedies, histories and romances. During the quarter, we will be considering these plays in their Early Modern context—cultural, political, literary and theatrical. We will focus centrally on matters of performance and of text. How is our interpretation of a play shaped by Shakespeare’s various â€Å"texts†Ã¢â‚¬â€ his stories and their histories, the works of his contemporaries, the latest literary fashions, and the various versions of his plays that circulated among his audience? Similarly, how do the details of a given performance, or the presence of a particular audience, alter the experience of the play? To answer these questions, we will consider not only the theaters of Early Modern England, but also recent cinematic versions of the plays, and we will read not only our modern edition of Shakespeare but also examine some pages from the plays as they originally circulated. Our readings may include Much Ado About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions: What Spooks America? Betsy Erkkila MWF 12-12:50 Fall Quarter ?12 Memoirs of a Sleep-Walker; Ralph Waldo Emerson, Selected Writings; Edgar Allan Poe, Great Short Works; Frederick Douglass, The Narrative of Frederick Douglass; Nathaniel Hawthorne, The Scarlet Letter; Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit. Nick Davis MWF 12-12:50 Spring Quarter Course Description: This course aims to draw English majors and non-majors alike into a substantive, wide-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the 1920s to the present moment. In all of the literature we read, the impressions we form, and the insights we exchange, we will track complex evolutions of â€Å"America,† both as a nation and as a notion, deepened and ransformed over time by new ideas about language, history, movement and migration, individuality and collectivity, social positioning, regional identities, political attitudes, and other forces that shape, surround, and speak through the texts. However, we shall remind ourselves at all points that literature is not just a mirror but an engine of culture; it produces its own effects and invites us into new, complicated perspectives about language, form, structure, voice, style, theme, and the marvelous, subtle filaments that connect any text to its readers. Teaching Method: Lecture and discussion Evaluation Method: Two formal essays, quizzes, and a final exam, plus participation in discussion sections and occasionally in lecture Texts include: William Faulkner’s As I Lay Dying; Marita Bonner’s The Purple Flower; Nathanael West’s Miss Lonelyhearts; Don DeLillo’s White Noise; Suzan-Lori Parks’s The America Play; and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-12:50 Winter Quarter Course Description: This course is a survey of American literature from the decade preceding the Civil War to 1900. In lectures and discussion sections, we shall explore the divergent textual voices – white and black, male and female, poor and rich, slave and free – that constitute the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions: What does it mean to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the tragedy and the triumph of the Civil War inflect American poetry and narrative? And how do post- bellum writers represent the complexities of democracy, particularly the gains and losses of Reconstruction, the advent of and resistance to the â€Å"New Woman,† and the class struggle in the newly reunited nation? Evaluation Method: Evaluation will be based on two short (3-page) essays, in which students will perform a close reading of a literary passage from one of the texts on the syllabus; a final examination, involving short answers and essays; and active participation in section and lecture. Texts include: Herman Melville, â€Å"Bartleby, Scrivener†; Harriet Wilson, Our Nig; Rebecca Harding Davis, â€Å"Life in the Iron Mills†; Harriet Jacobs, Incidents in the Life of a Slave Girl; Emily Dickinson, selected poems; Walt Whitman, â€Å"Song of Myself† and other selected poems; Mark Twain, The Adventures of Huckleberry Finn; Charles Chestnut, selected tales; Kate Chopin, The Awakening. Textbooks will be available at: Norris Bookstore. Note: Attendance at all sections is required; anyone who misses more than one section meeting will fail the course unless both his or her T. A. and the professor give permission to continue. ENG 275/co-listed w/ Asian_Am 275 Introduction to Asian American Studies Jinah Kim MW 12:30-1:50 Fall Quarter Course Description: This course examines literature, film, and critical theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how Asian American literature and theory engages themes and questions in literary studies, particularly related to questions of race, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies. For example, how does Carlos Bulosan draw on tropes and images of 1930’s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and domestic migrant workers? How does Siu Sin Far use sentimentalism as a strategy to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of WWII? Thus we are also learning to ‘deconstruct’ the text and understand how Asian American literature and culture offers a parallax view into American history, culture and political economy. Starting from the premise that Asian America operates as a contested category of ethnic and national identity we will consider how Asian American literatures and cultures â€Å"defamiliarize† American exceptionalist claims to pluralism, modernity, and progress. The novels, short stories, plays and films we will study in this class chart an ongoing movement in Asian American studies from negotiating the demands for domesticated narratives of immigrant assimilation to crafting new modes of ritique highlighting Asian America’s transnational and postcolonial history and poesis. Teaching Method: Lecture, Discussion, Readings, Class participation, Guest speakers, Writing assignments, Films / video. Evaluation Method: Presentations, attendance, class participation, mid-term paper, final paper. Texts Include: Carlos Bulosan, America is in the Heart, University of Washington Press, 1974; Don Lee, Country of Origin, W. W. Norton and Company, 2004; Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990; Jhumpa Lahiri, Interpreter of Maladies, Mariner Books, 1999; Susan Choi, Foreign Student, Harper Collins, 1992; John Okada, No-No Boy University of Washington Press, 1978; A required reader is available from Quartet Copies and films for the course will stream on blackboard. ENG 298 Introductory Seminar in Reading and Interpretation Course Description: English 298 emphasizes practice in the close reading and analysis of literature in relation to important critical issues and perspectives in literary study. Along with English 210-1,2 or 270- 1,2 it is a prerequisite for the English Literature Major. The enrollment will be limited to 15 students in each section. Nine sections will be offered each year (three each quarter), and their specific contents will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active learning and attention to writing as part of an introduction both to the development of the skills of close reading and interpretation and to gaining familiarity and expertise in the possibility of the critical thinking. Prerequisites: One quarter of 210 or 270. Note: First class mandatory. No P/N registration. This course does NOT fulfill the WCAS Area VI distribution requirement. Fall Quarter: Jay Grossman Helen Thompson Wendy Roberts Winter Quarter: Betsy Erkkila Susie Phillips Carissa Harris Spring Quarter: Harris Feinsod John Alba Cutler Sarah Lahey FQ Section 20: MWF 11-11:50 TTh 9:30-10:50 TTh 3:30-4:50 TTh 9:30-10:50 TTh 11-12:20 TTh 2-3:20 MWF 2-2:50 TTh 11-12:20 TTh 3:30-4:50 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20 Section 20 Section 21 Section 22 Literary Study: â€Å"Coming to Terms† Jay Grossman MWF 11-11:50 Course Description: This seminar will introduce you to some of terms–and through these terms, to some of the materials, methods, theories, and arguments– that have become central to literary study today. By coming to know these terms, we will begin to come to terms with literary study in other, broader ways–to think about what the study of texts might have to do with reading, writing, and thinking in twenty-first century American culture. The seminar is organized around the following terms: writing, author, culture, canon, gender, performance. Some of these terms are of course familiar. Initially, some will seem impossibly broad, but our approach will be particular, through particular literary texts and critical essays. Throughout the course we will also return to two important terms that aren’t a part of this list: literature (what is it? who or what controls its meaning? why study it? ) and readers (who are we? what is our relation to the text and its meaning[s]? what does â€Å"reading† entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method: Mostly discussion. Evaluation method: Mandatory attendance and active participation. Shorter papers, some of them revised, and one longer final paper. No exams. Texts Include: Mostly fiction and poetry, including some of the following: Walt Whitman, Leaves of Grass; Emily Dickinson’s poetry; Elizabeth Bishop, Geography III; Michael Chabon, The Mysteries of Pittsburgh; Henry Blake Fuller, Bertram Cope’s Year; Critical Terms for Literary Study (eds. Lentricchia and McLaughlin; second edition). FQ Section 21: Romanticism and Criticism Helen Thompson TTh 9:30-10:50 Course Description: This seminar pairs a series of key texts in the history of critical thought with canonical fiction and poetry of the Romantic era. You’ll learn about critical movements— psychoanalysis, Marxism, feminism, and post- structuralism or deconstruction—by testing their substantive and methodological claims against poems, novels, plots, images, and fictions. As the class proceeds, you’ll be able to mix and match critical and literary texts to experiment with the kinds of interpretations and arguments their conjunctions make possible. How do entities like history, class struggle, the unconscious, manifest versus latent content, patriarchy, the body, sex, gender, signification, and textuality continue to engender literary meaning and galvanize the claims we make for the poems and novels we read? We’ll pair Karl Marx’s Communist Manifesto and William Blake’s Songs of Innocence and Songs of Experience; Sigmund Freud’s The Interpretation of Dreams and Mary Shelley’s Frankenstein; William Wordsworth’s Lyrical Ballads and key essays in Jacques Derrida’s theory of deconstruction; and Jane Austen’s Pride and Prejudice and Simone de Beauvoir’s The Second Sex. There will be short supplemental critical or historical materials to flesh out some of these methodologies and provide context for the literary texts. Again, you’ll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your appreciation of not only the substantive claims made by Marx, Freud, Derrida, and Beauvoir, but also the methodological possibilities that their challenging worldviews open for the interpretation of literature. At the same time, we’ll appreciate that Blake, Shelley, Wordsworth, and Austen are also critical thinkers: indeed, perhaps their poetic and fictional texts anticipate the methodological and historical provocations offered by Marx and the rest. As we gain facility with some of the dominant methodological strands of literary analysis, we’ll think about their historical roots in the Romantic era and ponder the still urgent critical possibilities they open for us today. Teaching Method: Seminar. Evaluation Method: TBA FQ Section 22: Contact Wendy Roberts TTh 3:30-4:50 Course Description: European contact with the â€Å"new world† initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it means to be American can be said to egin in the first encounter with the other. It is often noted that the physical senses were central to this narrative in which textuality became linked to modernity and orality to the primitive. In many ways, the rich metaphor of â€Å"contact† is helpful for thinking about literary methodologies, which often attempt to make strange, at the same time that they attempt to understand, a given text. This course will intro duce English majors to some of the key terms and issues in textual interpretation through reading American literature pertaining to contact, broadly conceived. Whether coming face to face with the savage Indian in the wilderness, or conversely, a white ghost, experiencing a supernatural event, or stepping onto American soil after surviving the Middle Passage, the texts we read will offer compelling narratives of rupture, displacement, and recreation helping us to reflect on the various methodologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the definition of literature, our status as readers, and the way our encounter, contact, or discovery of a given text becomes literarily, culturally, and personally meaningful. Teaching Method: Discussion. 15 Evaluation Method: Participation, attendance, shorter writing assignments, group blog project, and one revised paper. Texts include: Mostly fiction and poetry, including some of the following: contact narratives by Christopher Columbus and Alvar Nunez Cabeza de Vaca, selection of Native American tales and songs, including contemporary poet Leslie Marmon Silko, Mary Rowlandson’s captivity narrative, John Marrant’s conversion narrative, Phillis Wheatley’s poetry, Charles Brockden Brown’s novel Wieland, and Walt Whitman’s Leaves of Grass. WQ Section 20: Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 9:30-10:50 Course Description: Edgar Allan Poe invented the short story, the detective story, the science fiction story, and modern poetic theory. His stories and essays anticipate the Freudian unconscious and various forms of psychoanalytic, poststructuralist, and modern critical theory. Poe wrote a spooky novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many popular nineteenth- century American magazines, he wrote sketches, reviews, essays, angelic dialogues, polemics, and hoaxes. This course will focus on Poe’s writings as a means of learning how to read and analyze a variety of literary genres, including lyric and narrative poems, the novel, the short story, detective fiction, science fiction, the essay, the literary review, and critical theory. We shall study poetic language, image, meter, and form as well as various story- telling techniques such as narrative point of view, plot, structure, language, character, repetition and recurrence, and implied audience. We shall also study a variety of critical approaches to reading and interpreting Poe’s writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and criticism. We shall conclude by looking at the ways Poe’s works have been translated and adapted in a selection of contemporary films and other pop cultural forms. Teaching Method: Some lecture; mostly close- reading and discussion. Evaluation Method: 2 short essays (3-4 pages); and one longer essay (8-10 pages); in-class participation. Texts Include: Edgar Allan Poe: Poetry, Tales, and Selected Essays (Library of America); M. H. Abrams and Geoffrey Galt Harpham: A Glossary of Literary Terms (Thomson, 8thEdition); Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology (Blackwell, rev. ed. ). WQ Section 21: Songs and Sonnets Susie Phillips TTh 11-12:20 Course Description: Beginning with the sonnet craze in the late sixteenth century, this course will explore the relationship between poetry and popular culture, investigating the ways in which poets draw on the latest trends in popular and literary culture and, in turn, the ways in which that culture incorporates and transforms p oetry—on the stage, in music, and on the screen. We will consider how poets borrow from and respond to one another, experimenting with traditional forms and familiar themes to make the old new. In order to recognize and interpret this experimentation, we will first study those traditional forms, learning to read and interpret poetry. While we will be reading a range of poems in modern editions, we will be situating them in their social, historical, literary and material contexts, analyzing the ways in which these contexts shape our interpretation. How for example might our reading of a poem change if we encountered it scribbled in the margins of a legal notebook or posted as an advertisement on the El rather than as part of an authoritative anthology? Teaching Method: Discussion. Evaluation Method: Two papers, short assignments, and class participation. Texts Include: Poetry by Shakespeare, Donne, Marlowe, Sidney, Spenser, Keats, Shelley, Williams, Stevens, and Eliot. WQ Section 22: Representing the Prostitute in Early Modern England Carissa Harris TTh 2-3:20 Course Description: The London stage was continually populated by actors playing prostitutes, from the morality dramas of the 16th century to early 17th-century plays in which the prostitute takes 16 center stage, such as The Dutch Courtesan and The Honest Whore Part 1 and 2. Why was the figure of the prostitute particularly important to early modern English writers, and what did staging the prostitute mean for both authors and audiences? In this course we will explore how early modern English writers used the character of the prostitute to embody a variety of popular anxieties concerning female sexuality, social disorder, the continual influx of foreigners to London, the rapid spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, seeking to identify what precisely representing the prostitute on stage accomplished for both authors and audiences in early modern London. We will also investigate the roles the prostitute performs in particular genres, including satirical love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeare’s comedy Measure for Measure, Thomas Dekker’s plays The Honest Whore Part 1 and 2, Thomas Nash’s poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marston’s plays The Insatiate Countess (unfinished) and The Dutch Courtesan (selections). Teaching Method: Seminar. Evaluation Method: 2 short close-reading papers (3- 4 pp. , an in-class presentation with an accompanying paper (2 pp. ), and a final paper (5-7 pp. ). Texts include: Shakespeare, Measure for Measure (Arden Shakespeare edition); and a course reader Textbooks will be available at: Quartet Copies. SQ Section 20: Modern Poetry Poetics: Experiments in Reading Harris Feinsod MWF 2-2:50 Course Description: This course offers an introduction to key texts and major p aradigms for the reading and interpretation of modern poetry in English. The first half of the course contends with questions at the heart of the discipline of poetics: what is poetry? Is it of any use? How do poems employ figures, rhythms, sounds, and images to address problems of experience and society? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to thinking? We will read â€Å"experimentally,† pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with theoretical statements of poetics by Paz, Jakobson, Agamben, Stewart, Frye and others. This will allow us to gain fluency with poetic forms and genres, and to practice the fundamentals of close reading. In the second half of the course our attention will shift from individual poems to a series of scandalously inventive collections and sequences (including Williams, Brooks, Oppen, Ginsberg, O’Hara, or others). We will learn to shuttle with agility between the observations of minute formal elements and larger historical, performative, and transnational logics. We will continue to experiment widely and self-consciously with practices of close reading, but we will also flirt with alternatives such as â€Å"close listening† and â€Å"wild reading. We will move between an understanding of a â€Å"text† and its social â€Å"context,† between iterative â€Å"forms† and unrepeatable â€Å"performances,† between discrete â€Å"works† and the wider â€Å"networks† of poems to which they belong. At the conclusion of the course, we will begin to speculate about the future of poetry and poetics in the new media environment of the 21st centu ry. Teaching Method: Lecture and discussion. Evaluation Method: frequent short writing assignments, one ~10 page paper, one in-class presentation. Careful preparation and participation is crucial. Texts include: Individual poems and collections by Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound, Eliot, Williams, Bishop, Ginsberg, and others; criticism by Agamben, Adorno, Culler, de Man, Frye, Greene, Jakobson, Ramazani et. al. ; Brogan, The New Princeton Handbook of Poetic Terms. This list is subject to change, contact me for the syllabus during enrollment. Texts available at: Beck’s Bookstore SQ Section 21: Adaptation John Alba Cutler TTh 11-12:20 Course Description: This seminar will examine literary adaptation as a way to approach questions of reading, interpretation, genre, and literary culture. Literary works have much to teach us about the act of reading itself, especially when those works adapt some other source material and in the process 17 interpret it. The process of adaptation into poetry or fiction foregrounds how literary texts make meaning. Adaptation will thus provide us a framework for studying basic concepts from poetics, including meter, rhyme, and form, as well as from narratology, including point of view, characterization, plot, and narrative temporality. We will consider literary adaptation from a variety of perspectives: what choices do writers make when creating a work of fiction from historical records? Or a play from a poem? How have poets from the Early Modern period to the present used sources as various as the Bible and visual art as inspiration? What do all of these adaptations teach us about how literature compares to other forms of cultural production? The seminar will end by considering what happens when a canonical work of American literature, F. Scott Fitzgerald’s The Great Gatsby, becomes the subject of adaptation and re-adaptation. Teaching Method: Discussion Evaluation Method: Quizzes, short essays. Texts include: Poems by John Milton, W. H. Auden, Langston Hughes, and Frank O’Hara; â€Å"Benito Cereno,† by Herman Melville; A Raisin in the Sun, by Lorraine Hansberry; and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22: Many Faces of Gothic Fiction Sarah Lahey TTh 3:30-4:50 Course Description: The Turn of the Screw has famously been interpreted as both a ghost story and a psychological drama. Some claim it is a novella about supernatural events, and others argue it revolves around a crazy governess suffering hallucinations. As a genre, gothic literature inspires an unusually diverse range of critical reactions. Yet, how many ways can we accurately read the same story? What prompts one form of criticism over another? What are the stakes of choosing to read a story in a particular way? These questions will drive our discussion as we examine classic works of gothic fiction in the British tradition from the 18th and 19th centuries. We also will pair each primary text with an excerpt of literary theory or criticism. Our aim is to understand the practice of literary criticism, while at the same time enjoying the thrills – and horrors – of gothicism’s most famous creations. Teaching Method: Discussion Evaluation Method: In-class presentation, two short papers (4-5 pages), and one longer paper (6-8 pages). Texts include: The Castle of Otranto (1764); Confessions of a Justified Sinner (1824); Strange Case of Dr. Jekyll and Mr. Hyde (1886); Dracula (1897); and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-12:20 Fall Quarter Course Description: Have you ever noticed that, unlike many other languages, English often has two different names for the same animal? These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered England and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the Conqueror and cows and pigs and sheep became beef and pork and mutton – at least when they were served up to the Normans at their banquets. Like many other high-falutin’ words in English, these names for different kinds of meat all derive from French. As long as the animals remained in the barnyard, however, being cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will investigate this and many other milestones in the history of the English language, focusing on the period from the Middle Ages through the eighteenth century. We will pay particular attention to the relationship between language and power, and to the ways people in these periods conceived of their own language(s) in relation to others. This class will also help you to develop a more sensitive understanding of the English language that you can bring to other classes and to life in general. Have you ever thought about analyzing a poem – or a political speech – in terms of which words come from Latin, which from French, and which from Old English? Teaching Method: Mostly discussion, with some lecture. Evaluation Method: Quizzes, a midterm exam, and a final exam, plus a couple of short papers and an oral report. Texts Include: David Crystal, The Stories of English; a course reader. 18 Texts available at: Beck’s Bookstore and Quartet Copies NOTE: This course fulfills the English Literature major Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing: Theory and Practice of Poetry Translation Reg Gibbons MW 2-3:20 Spring Quarter Course Description: A combination of seminar and workshop. Together we will translate several short poems and study theoretical approaches to literary translation and practical accounts by literary translators. We will approach language, poems, poetics, culture and theoretical issues and problems in relation to each other. Your written work will be due in different forms during the course. In your final portfolio, you will present revised versions of your translations and a research paper on translation.. Prerequisite: A reading knowledge of a second language, and experience reading literature in that language. If you are uncertain about your qualifications, please e-mail the instructor at to describe them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method: Discussion; group critique of draft translations; oral presentations by students. Evaluation Method: Written work (â€Å"blackboard† responses to reading, draft translations, revised translations, and final papers) as well as class participation should demonstrate students’ growing understanding of translation as a practice and as a way of reading poetry and engaging with larger theoretical ideas about literature. Texts include: Essays on translation by a number of critics, scholars and translators, in two published volumes and on the Course Management web site (â€Å"blackboard†). ENG 307 CROSS-GENRE Advanced Creative Writing: Finding a Place Goldie Goldbloom TTh 12:30-1:50 Fall Quarter Course Description: Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what remains with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The Lord of the Rings be like without Middle Earth, Charlotte’s Web without the farmyard, To Kill a Mockingbird without Maycomb, Alabama? We will be examining setting in our own work and in the work of published writers, to determine what it adds to the dreamscape of a story, and how it can be manipulated to express hidden emotion. This is a workshop class, and you will be expected to bring in your own writing for analysis and critique. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. This course may be used toward the inter-disciplinary minor in creative writing. Texts include: The Street of Crocodiles, Bruno Schulz, 978-0-14018625-5; Nadirs, Herta Muller, 978-0-80328254-4; Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2; Being Dead, Jim Crace, 978-0-31227542-6; The Woman in the Dunes, Kobo Abe, 978-0-67973378-2; Bastard Out of Carolina, Dorothy Alison; Lord of the Rings, J. R. R. Tolkein ENG 307 Advanced Creative Writing: Fabulous Fiction Stuart Dybek TTh 12:30-1:50 FICTION Winter Quarter Course Description: Fabulous Fictions is a writing class that focuses on writing that departs from realism. Often the subject matter of such writing explores states of mind that are referred to as non- ordinary reality. A wide variety of genres and subgenres fall under this heading: fabulism, myth, fairy tales, fantasy, science fiction, speculative fiction, horror, the grotesque, the supernatural, surrealism, etc. Obviously, in a mere quarter we could not hope to study each of these categories in the kind of detail that might be found in a literature class. The aim in 307 is to discern and employ writing techniques that overarch these various genres, to study the subject through doing—by writing your own fabulist stories. We will be read examples of ? 19 fabulism as writers read: to understand how these fictions are made—studying them from the inside out, so to speak. Many of these genres overlap. For instance they are all rooted in the tale, a kind of story that goes back to primitive sources. They all speculate: they ask the question What If? They all are stories that demand invention, which, along with the word transformation, will be the key terms in the course. The invention might be a monster, a method of time travel, an alien world, etc. but with rare exception the story will demand an invention and that invention will often also be the central image of the story. So, in discussing how these stories work we will also be learning some of the most basic, primitive moves in storytelling. To get you going I will be bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrances—your rabbit holes and magic doorways–into the figurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. Besides the exercises, two full-length stories will be required, as well as written critiques of one another’s work. Because we all serve to make up an audience for the writer, attendance is mandatory. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. addition to our readings and discussions of published fiction, we will spend time workshopping your own stories. Dependent on time, each student will have their creative prose workshopped twice. ENG 307 CROSS-GENRE Advanced Creative Writing: Cross-Genre Experiments Mary Kinzie TTh 2-3:20 Spring Quarter Course Description: A creative writing course for any undergraduate who has taken at least two of the Reading Writing prerequisites (poetry and one prose course). We will explore the blending of prose with poetry in genres such as the â€Å"lyric essay† as well as the insertions of prose into works by poets; the blending of narrative with visual art (as in Donald Evans’s series of stamps How to cite English William Shakespeare, Essay examples