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Home > Graduate Studies > Courses : Fall 2006

English Graduate Courses Fall 2006

EngL

ENGL 4152 Nineteenth Century British Novel

(A-F only, unless otherwise noted)
24253-001 LEC, 06:20 P.M. - 08:50 P.M., Th (09/05/2006 - 12/13/2006), LindH 320, TCEASTBANK, Luke, David B, 3 credits. 2 seat(s) reserved for non-PSEO, non-admitted student; 8 seat(s) reserved for Graduate Student; 20 seat(s) reserved for Undergrad student
The course will study the cultural developments of the 19th-C English Novel from Mary Shelley's Frankenstein through Bronte, Dickens, Eliot and Hardy, to Joseph Conrad's Heart of Darkness (1898) in terms of aesthetic, psychological, philosophical, and social issues.

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ENGL 4311 Asian American Literature and Drama

(A-F only, unless otherwise noted)
30425-001 LEC, 06:20 P.M. - 08:50 P.M., Th (09/05/2006 - 12/13/2006), LindH 325, TCEASTBANK, Ch'ien, Evelyn Nien-Ming, 3 credits.

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ENGL 4612 Old English I

30426 -001 LEC, 10:10 A.M. - 11:00 A.M., M,W,F (09/05/2006 - 12/13/2006), LindH 302, TCEASTBANK, Scheil, Andrew, 3 credits
“I am learning Anglo-Saxon and it is a vastly superior thing to what we have now” (Gerard Manley Hopkins, letter to fellow poet Robert Bridges, 1882). This course is an introduction to the rich language and literature of Anglo-Saxon England (circa. 500-1100). “Old English,” or as it is sometimes known, “Anglo-Saxon,” is the earliest form of the English language; therefore, the primary course goal will be to acquire the ability to read Old English texts in the original. No previous experience with Old English or any other language is necessary or expected; undergraduates and graduate students are welcome. A knowledge of Old English will allow you to touch the most ancient literary sensibilities in the English tradition; these sensibilities are familiar and strange at the same time, as we sense our deep cultural connection to these texts across the centuries, yet at the same time feel that the past is a strange place indeed. The power of Old English literature has profoundly influenced authors such as Tennyson, Pound, Graves, Wilbur, Hopkins, Gunn, Auden, Seamus Heaney, C.S. Lewis, and of course, J.R.R. Tolkien.

The first half of the course will be spent on the basics of Old English morphology and syntax, with brief readings and exercises drawn from a variety of Anglo-Saxon sources—magic charms, the bible, riddles, monster tales, medical texts, homilies. In the second half of the course we will translate more extensive selections from religious and historical prose, as well as religious, elegiac, and heroic battle poetry. We will conclude the semester by reading short excerpts from Beowulf. We will also pay some attention to important aspects of Anglo-Saxon culture including manuscript production, runes, the interface of Christianity and Germanic paganism, art and archaeology, Viking invasions and more. The course will be satisfying as a stand-alone experience, but it can also be profitably paired with ENGL 4613 in the Spring of 2007, which is devoted to a full translation and study of Beowulf (and other works) in the original.
Meets with: MEST 4610 section 001.

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ENGL 5001 Introduction to Methods in Literary Studies

(prereq grad or instr consent)
20816-001 LEC, 03:35 P.M. - 06:05 P.M., W (09/05/2006 - 12/13/2006), LindH 229, TCEASTBANK, Ross Jr, Donald, 3 credits
Ends/methods of literary research, including professional literary criticism, analytical bibliography, and textual criticism. General principle: In academic writing, ideas exist dialectically within a community through dialogue. Specific principles: Knowledge is created through authentic questioning, and new ideas (our answers to our questions) are formulated and tested through authentic dialogue. This course will explore the various communities involved in literary studies, the questions they pose, and how they formulate and test their answers. In more practical terms, students will work on developing and focusing questions, doing research to explore and document a community's understanding of the topic, and then writing up the results in a professional manner. Students will discuss their work throughout the semester and the pooled results of those discussions will lead to a common understanding of the basic rules and conventions of writing about literary topics.

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ENGL 5030 Readings in Drama

(max crs 9; 3 repeats allowed; prereq Grad student or instr consent ; credit will not be granted if credit received for: 5330)
33833 -001 LEC, 02:30 P.M. - 03:45 P.M., Tu,Th (09/05/2006 - 12/13/2006), TCEASTBANK, Scheil, Katherine
Where does our notion of “Shakespeare” reside— is he the creator of  compelling stories? The originator of enthralling characters? The inventor of clever plots? Are modern film or theatre adaptations of a Shakespeare play still considered “Shakespeare”? This course examines several plays in depth (including Macbeth, The Taming of the Shrew, and Hamlet), from their Shakespearian origins through various later manifestations, looking at how and why Shakespeare's characters, plots, and plays have been transformed by later generations. We will explore plays, novelizations, films, skits, burlesques, and other works inspired by Shakespeare.
Meets with: ENGL 3030 section 001.

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ENGL 5090 Readings in Special Subjects

(max crs 9; 3 repeats allowed; Credit will not be granted if credit has been received for: ENGL 5100; prereq grad student or instr consent)
27099-001 LEC, 06:20 P.M. - 08:50 P.M., Tu (09/05/2006 - 12/13/2006), LindH 216, TCEASTBANK, Ferguson, Jeanine,Grant Writing & Development, 3 credits; 2 seat(s) reserved for non-PSEO, non-admitted student; 5 seat(s) reserved for Graduate Student.
Meets with: ENGL 3090 section 001.

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ENGL 5200 Readings in American Literature

(max crs 9; 3 repeats allowed; prereq Grad student or instr consent; credit will not be granted if credit received for: 5120)
30427-001 LEC, 12:20 P.M. - 02:50 P.M., W (09/05/2006 - 12/13/2006), Room TBA, TCEASTBANK, Gonzalez, Ray, Four Poets: Robert Frost, Elizabeth Bishop, Wallace Stevens, and Sylvia Plath, 3 credits
This course will focus on four major writers who shaped the direction American poetry took in the 20th Century. Robert Frost, Elizabeth Bishop, Wallace Stevens, and Sylvia Plath lived fascinating lives and wrote quite differently from one another. Their voices, influence, and mastery of the English language have dominated modern poetry for decades. The class will consist of readings from the collected volumes of each poet, along with major investigations of key secondary texts that include volumes of letters, biographies, and critical studies. One major research paper, along with shorter written assignments, group projects, and class presentations will be required.

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ENGL 5300 Readings in American Minority Literature

cancelled

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ENGL 5711 Introduction to Editing

(credit will not be granted if credit received for: 5401)
24345-001 WKS, 04:40 P.M. - 07:10 P.M., Tu (09/05/2006 - 12/13/2006), LindH 302, TCEASTBANK, 4 credits; 2 seat(s) reserved for non-PSEO, non-admitted student.
This course is an introduction to the editing process—specifically, learning about the editor-author-publisher relationship, with an emphasis on building skills in basic copyediting, style, grammar, and mechanics. We focus primarily on nonfiction editing; assignments vary from newspaper and magazine articles to academic editing and, briefly, fiction editing. Professional editors from the community visit on several occasions. The course texts include The Chicago Manual of Style and several copyediting textbooks. Weekly practice homework assignments are given. There are two midcourse exams and one final. Each has two parts: a take-home portion, in which students have one week to edit an article and query the author, and an in-class portion, in which students show their knowledge of mechanics, grammar, and style in a deadline-driven (and open-book) publishing environment. Email access is required.

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ENGL 5800 Practicum in the Teaching of English

(prereq Grad student or instr consent)
18639-001 SEM, 12:20 P.M. - 02:15 P.M., M (09/05/2006 - 12/13/2006), LindH 305, TCEASTBANK, Gustafson, Tim, 2 credits. NOTE: Students may register for a letter grade and produce a paper, or for S/N.

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ENGL 5805 Writing for Publication

(prereq Grad student in Engl or instr consent; credit will not be granted if credit received for: 8621)
27492-001 SEM, 06:20 P.M. - 08:50 P.M., W (09/05/2006 - 12/13/2006), SciCB 529, TCEASTBANK, Rabinowitz, Paula, 3 credits
Is publication the auction of the mind?  Emily Dickinson apparently recoiled at editors' alteration of her capitalization and punctuation. Academic journals and presses intrude far more extensively into one's writing—as the peer reviewing process inserts a series of readers between text, author, editor and public. This course is designed to help produce a published work, ideally in a refereed journal. It will briefly examine the history of disciplinary formation through journals, analyze how new knowledge emerges within new publishing venues, explore both print and electronic publishing across a variety of disciplines, and serve as a laboratory for the completion of a major work of scholarship.

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ENGL 5992 Directed Readings, Study, or Research

(max crs 15; 15 repeats allowed; prereq instr consent , college consent)
19990-001 DRD (09/05/2006 - 12/13/2006), TCEASTBANK, 1 - 3 credits
28875-002 DRD (09/05/2006 - 12/13/2006), TCEASTBANK, 1 - 3 credits

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ENGL 8090 Seminar in Special Subjects

(max crs 12; 4 repeats allowed; prereq Engl grad student or instr consent)
27597-001 SEM, 12:45 P.M. - 03:15 P.M., Tu (09/05/2006 - 12/13/2006), TCEASTBANK, Ch'ien, Evelyn Nien-Ming, 3 credits

32927-002 SEM, 03:35 P.M. - 06:05 P.M., Th (09/05/2006 - 12/13/2006), TCEASTBANK, Tinsley, Natasha, Fluid Identities: Postcolonial, Queer, and Postcolonial Queer Theories, 3 credits

And larger and larger and ever larger than me, O sea: water: waves and foam... How the sea would take I and wrap I deep in it. How it would drown I, mash I up, wash I into bits... And so I does say now that I know the sea this same sea like I does know the back of me hand, says I: these currents, these waves, these foams... Let this sea not take I, but let it talk to I. Let it sing. The sea, the sea. Yes, water. Waves. Wetness, poundsurf, that I does love.—Thomas Glave, Words to Our Now: Imagination and Dissent

In the last fifteen years, postcolonial and gender theory affected sea changes in critiques of identity, mashing up and washing into bits unified conceptions of race, nationality, gender, and sexuality with the insistent pounding force that Glave ascribes to ocean waters. Rigorously theorizing how identity has always already been in flux, constructed and reconstructed to serve and undermine shifting regimes of power, these two fields of inquiry have changed how scholars across disciplines frame subjecthood. Appropriately, as postcolonial and queer theory establish standardized vocabulary, one metaphor that appears often and with heavily positive valences in their most significant texts is that of water and fluidity. While postcolonial theorists like Paul Gilroy, Edouard Glissant, and Antonio Benitez Rojo turn to the Atlantic Ocean and the Caribbean Sea as frameworks for imagining the dislocations and reconnections of diaspora, queer theorists like Judith Butler and Judith Halberstam both praise and question the resistant power of fluid genders and sexualities. This course traces intersections and disjunctions between racialized and gendered critiques by working comparatively between these influential theories of fluid identities. Offering an introduction to postcolonial theory, African diaspora studies, queer theory, and various inquiries around (non)identity transforming contemporary scholarship, we turn to specific texts to concretely frame general questions about sameness (flowing together) and difference (changing tides). We engage the theoretical work of Gilroy, Glissant, Benitez Rojo, Butler, Halberstam, Marcus Rediker, and José Munoz, in dialogue with the creative texts of Glave, Dionne Brand, Nalo Hopkinson, Mayra Santos Febres, Ana Lara, and M. Jacqui Alexander to ask: How, as scholars, can we both follow and rechart directions of inquiry into shifting geographies—or better, oceanographies—of the self? How do different kinds of difference meet and diverge?

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ENGL 8120 Seminar in Early Modern Literature and Culture

(max crs 12; 4 repeats allowed; A-F only, unless otherwise noted; prereq Grad major or instr consent)
30429-001 SEM, 03:35 P.M. - 06:05 P.M., M (09/05/2006 - 12/13/2006), LindH 216, TCEASTBANK, Haley, David B, Milton and Revolution, 3 credits

Throughout the early modern period (1500–1830), nearly all the great English poets tended to be politically conservative. Prior to the French Revolution, in fact, only two major poets from this period—John Milton (1608–74) and Andrew Marvell (1621–78)—lent their pens to Parliament’s cause of reform. When the efforts at reform exploded into a civil war that provoked the Army to overturn the constitution and behead the king (1641–49), both poets supported the new commonwealth. This consisted of a Republic (1649–53) and a Protectorate (1654–59) that brought ten years of stability to England. Cromwell died late in 1658, and soon England sank into a year of political and social chaos before the monarchy was restored early in 1660. During these months, Marvell wrote an elegy lamenting the death of the Protector, while Milton desperately strove to revive the expiring commonwealth.

Our course will bring into focus Marvell’s and Milton’s political views after the Restoration of monarchy. Beginning with some of their commonwealth writings—two or three political pamphlets by Milton and three poems by Marvell—we’ll proceed to their poems written after 1660: Marvell’s “Instructions to a Painter” satires and Milton’s three greatest works (Paradise Lost, Paradise Regained, and Samson Agonistes).Through their criticism of retrograde, anti-reform elements such as the Anglican churchmen (in Marvell) and Satan (in Milton), these two poets became England’s most celebrated political liberals before Blake and Shelley.

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

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
24082-001 SEM, 12:20 P.M. - 02:50 P.M., W (09/05/2006 - 12/13/2006), LindH 217, TCEASTBANK, Goldberg, Brian B, The Afterlife in British Romantic Literature, 3 credits

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ENGL 8200 Seminar in American Literature

(max crs 12; 4 repeats allowed; prereq Grad major or instr consent)
28500-001 SEM, 01:25 P.M. - 03:55 P.M., F (09/05/2006 - 12/13/2006), LindH 217, TCEASTBANK, Augst, Thomas E, Democratic Virtues: Ethics, Selfhood, Liberalism, 3 credits
What are the practices, values, and institutions through which we define and exercise freedom in liberal democracies? Since de Tocqueville’s Democracy in America, writers and critics have sought to understand a particular sense of the self that developed from the political and social circumstances of the United States that we typically call individualism. This meant in part that, as Whitman declares in the Preface to Leaves of Grass (1855), “every man shall be his own priest.” This course considers some of the forms that this ministry of the self takes from the perspective of the ethics and politics of identity, and examines its social implications for how individuals chart paths between autonomy and conformity, public and private, leisure and work, secular and sacred. Throughout the course, we will be concerned with diverse, contested forms of moral authority in a pluralistic culture: the development of the self as an object of ethical practice, social reform, and political regulation; the aesthetics of experience, as mediated by mass culture and professional expertise; the status of particular modes of reading and writing in the performance and analysis of character. Readings will explore these issues from diverse perspectives, including philosophies of liberalism and pragmatism, theories of governmentality, prose fiction and nonfiction, and materials related to popular “self-help” movements in the nineteenth and twentieth centuries, etc. Besides reading and class participation, primary work for the course will include the design of independent research projects developing student interests.

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ENGL 8444 FTE: Doctoral

(No Grade Associated, unless otherwise noted; prereq Doctoral student, adviser and DGS consent)
19622-001 THE, TCEASTBANK, 1 credit

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ENGL 8510 Studies in Criticism and Theory

-001 cancelled

(max crs 12; 4 repeats allowed; prereq Engl grad major or or instr consent)
32923-002 SEM, 06:20 P.M. - 09:05 P.M., Tu (09/05/2006 - 12/13/2006), TCEASTBANK, Messer-Davidow, Ellen, Reading Marxisms, 3 credits
Contrary to popular opinion, Marxism is not an ossified doctrine. Rather, it is a body of vibrant analysis that mutated from the 19th century to the present in response to not only major transformations from early industrial capitalism to contemporary global capitalism, but also disruptions and developments: for instance, revolutions and wars, labor organizing and social movement activism, the rise of consumer society, the commodification of culture, and the conglomeration of media industries.

The first purpose of this seminar is to acquaint you with classical, neo-, and post-Marxist thought: their models of social formations, key concepts, and analyses. The second purpose of the seminar is to apply what we learn to eras of change. Cued by Marx’s dictum in Theses on Feuerbach—“The philosophers have only interpreted the world, in various ways; the point, however, is to change it.”—we will review how social-movement activism has informed and been informed by Marxist thought. And cued by Luxemburg’s prediction in The Accumulation of Capital—An Anti-Critique that “the global drive to expand leads to a collision between capital and precapitalist forms of society resulting in violence,” we will examine problems in globalization, the now congealing form of economic and cultural capitalism.
Meets with CSDS 8910-004.

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ENGL 8520 Seminar in Cultural Theory and Practice

(max crs 12; 4 repeats allowed; prereq Grad student in Engl or instr consent)
21789-001 SEM, 02:30 P.M. - 05:30 P.M., Tu (09/05/2006 - 12/13/2006), FolH 208, TCEASTBANK, Zipes, Jack, 3 credits
This course will explore Theodor Adorno’s theories of the culture industry along with the critical theory of Guy Debord (The Society of Spectacle) and Pierre Bourdieu (The Field of Cultural Production) to analyze the category of children’s films. How and when did the specific category of children’s films develop? To what extent are children configured into the culture industry and field of cultural production so that they become reified? How have filmmakers adapted novels, stories, and fairy tales to address children? Is there such a thing as a children’s public sphere? These are some of the questions that the course will pose. The focus of the course will tend toward comprehending how cultural production within the culture industry has changed from 1930 to the present. Primary prose works will be examined to understand how the meanings of childhood and children are constructed and employed within consumer societies.

The class will be divided into groups that will undertake and present case studies of how children’s literature has been adapted and transformed to address industry and audience expectations in different countries such as Germany, France, England, and the United States. Among the works that will be analyzed are: “Snow White” by the Brothers Grimm, The Wizard of Oz by L. Frank Baum, The Blue Bird by Maurice Maeterlinck, Mary Poppins by P. L. Travers, The Neverending Story by Michael Ende, Pippi Longstocking by Astrid Lindgren, and Holes by Louis Sachar, Charley and the Chocolate Factory by Roald Dahl. In addition to this requirement, a research paper on some aspect of children’s films and literature and the culture industry is to be submitted by the end of the semester.

Meets with: AMST 8920-001, GER 8300-001, CL 8910-005, CSDS 8910-005

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ENGL 8600 Seminar in Language, Rhetoric, Literacy, and Composition

(max crs 9; 3 repeats allowed)
33554-001 SEM, 12:45 P.M. - 03:15 P.M., Tu (09/05/2006 - 12/13/2006), TCEASTBANK, Sirc, Geoffrey Michael, Modernism, Postmodernism, and Composition Theory, 3 credits
This course will examine the principal figures and schools of thoughts in composition theory, from the early foundations of composition instruction (Adams Sherman Hill, at Harvard) to the present. I want to run the course along three tracks. Track 1 will be key readings in composition theory and pedagogy. Track 2, representative textbooks used to articulate and implement that theory. For the third track, I want to place composition theory in a larger context of text and culture. This third track acknowledges that the origins of Composition (the first course in Freshman Composition was offered in 1885) mirror those of Modernism. I’d like, then, to see how the subfield of Composition Studies rhymes (or doesn’t) with the larger cultural movement of Modernist thought, as well as Modernism’s later iteration/variation as Post-. And so, course readings will be chosen from among selected works in composition theory and pedagogy, representative textbooks, and key works of Modernist/Postmodernist thought—as relates to both literary and visual art, since some of the most interesting critical texts concerning composition in an expanded field are from the visual arts, and since the contemporary digital text very much concerns the visual.

Our work, I hope, will afford interesting insights as to the (possibly) unstated assumptions about writing instruction past and current. Some of the questions I hope our work will examine: What can we say about the genres used (and proscribed) in the teaching of writing? How does Composition conceive of the “writing process,” and how does that mesh with what critical theorists say about meaning-making? What are the materials of composition (and what might they be)? Where and how are institutional constraints articulated? What are the lingering remnants of Romantic thought (Modernism’s precursor) operative in composition? Can theories of literary and visual art productively inflect classroom practice?

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ENGL 8666 Doctoral Pre-Thesis Credits

(max crs 60; 4 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; doctoral student who has not passed prelim oral)
19783-001 THE, TCEASTBANK, 1 - 18 credits.

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ENGL 8888 Thesis Credit: Doctoral

(max crs 100; 10 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; 24 cr required)
23231-001 THE, TCEASTBANK, 1 - 24 credits

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

(max crs 15; 15 repeats allowed; prereq instr consent, dept consent)

18619-001 DRD (09/05/2006 - 12/13/2006), TCEASTBANK, 1 - 9 credits.

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EngW

ENGW 5102 Advanced Fiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
14852-001 WKS, 04:15 P.M. - 06:45 P.M., Th (09/05/2006 - 12/13/2006), LindH 315, TCEASTBANK, 4 credits
We will read and critique student fiction. Each student is expected to have two new short stories at the beginning of the term that they will present and that will be critiqued by their fellow students. Additionally, we will read and analyze published work with an eye toward structure and style. Students are expected to practice editorial skills, apply criticism, and re-draft at least one of the stories they have presented in class. Students will be graded on improved writing proficiency, editorial contributions, and class participation.

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ENGW 5104 Advanced Poetry Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
14853-001 WKS, 04:15 P.M. - 06:45 P.M., Th (09/05/2006 - 12/13/2006), LindH 302, TCEASTBANK, Keenan, Deborah, 4 credits.
We will read and critique student poetry. We will also read and analyze published work. Students are also encouraged to keep notebooks, to memorize, and to bring to class favorite poems and statements on poetry and poetics for discussion and reading. At the end of the semester, students turn in a portfolio of poems, including revisions.

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ENGW 5106 Advanced Literary Nonfiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent)
23141-001 WKS, 04:15 P.M. - 06:45 P.M., W (09/05/2006 - 12/13/2006), LindH 302, TCEASTBANK, Sprengnether, Madelon, 4 credits
Students will discuss and analyze a range of nonfiction works (memoir, essay, journalism), and submit their own work for class discussion/critique.

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ENGW 5205 Screenwriting

(prereq Jr or sr, one EngW 3xxx course, dept consent permission number available in creative writing office)
21239-001 WKS, 06:20 P.M. - 08:50 P.M., W (09/05/2006 - 12/13/2006), LindH 229, TCEASTBANK, 4 credits
A hands-on advanced workshop for students with experience in creative writing and/or a working knowledge of basic screenplay format. Students’ scripts-in-progress may be either a complete short film or an excerpt from a feature-length film. Class critiques will emphasize issues of imagery, characterization, plot and structure, as well as the creative process within screenwriting. Also expect in-class screenings, guests, and nuts and bolts discussion about story pitches, synopses and other vagaries of the professional industry. For advanced undergraduates, graduate students, and writers from the community interested in continuing education. Non-MFA students must either be a junior or a senior with at least one completed 3000-level EngL/EngC/EngW course. Students need not be English majors. Application form available in 209 Lind.

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ENGW 5310 Reading as Writers

(max crs 8; 2 repeats allowed; prereq grad student, dept consent)
20713-001 WKS, 04:15 P.M. - 06:45 P.M., M (09/05/2006 - 12/13/2006), AmundH 162, TCEASTBANK, Hampl, Patricia, First Person Singular, 4 credits
A course devoted to reading works in all three genres that employ the first person voice. While we will seriously consider long and short examples from poetry and fiction, the heaviest concentration of readings will be from forms of nonfiction such as memoirs and personal essays. We will address questions about this alluring but often vexing narrative voice that comes in for so much criticism (Is the first person voice inevitably self-absorbed? How do you get the authority to narrate from the "I"?) We will attempt to look at our subject as dynamically as possible in an effort to take us beyond the narrow confines so often assumed about the first person pronoun. How can the first person represent more than one point of view? How does the first person narrator achieve detachment? Is the first person the voice of feeling or of thought? This is a reading course, not a workshop. There will, however, be opportunities for brief writing exercises, usually in the form of pastiches from our reading and sometimes brief personal essays related to specific reading. Class participation in discussion as well as willingness to read one’s own work aloud and make brief formal presentations on the readings are key to success in the course. Readings will include at least one novel, short fiction, memoirs and essays, as well as a rich array of poetry. Some of the readings will be from the “canonical” texts, but our focus will take us mainly to modern and contemporary writers in an effort to hear the first person as a leading voice of the age. This course is designed for graduate students in creative writing and literature. It is an ideal reading course not only for nonfiction students but for poets and fiction writers and future literary critics and scholars who wish to focus on aspects of narration, and on what appears to be the signature voice of the age. A reading list will be available in June from the Creative Writing office.

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ENGW 5993 Directed Study in Writing

(max crs 18; 18 repeats allowed; prereq instr consent, dept consent, college consent)
15379-001 DST (09/05/2006 - 12/13/2006), TCEASTBANK, 1 - 4 credits
19343-002 DST (09/05/2006 - 12/13/2006), TCEASTBANK, 1 - 4 credits

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ENGW 8101 Reading Across Genres

(S-N only, unless otherwise noted; prereq Creative writing MFA student, dept consent)
14854-001 SEM, 04:15 P.M. - 06:45 P.M., W (09/05/2006 - 12/13/2006), AmundH 104, TCEASTBANK, Gonzalez, Ray, 4 credits
This class is designed for students beginning the MFA program. Students will be introduced to the program, how it functions, and how to make the best use of the three years. Students will read and discuss short works of fiction, poetry, and nonfiction, with a number of the books focusing on the writing life and the craft of working in various genres. There will be visits by members of the Creative Writing faculty throughout the semester. Packets containing samples of writing from the faculty will be discussed during each visit. Class time will consist of discussion of the required texts, writing assignments, and several workshop sessions. The main focus will be studying the three major genres taught in the program (poetry, fiction, and non-fiction) with an emphasis on writing and developing skills in more than one genre.

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ENGW 8140 Thesis Seminar: Poetry

(max crs 8; 2 repeats allowed; prereq Creative writing MFA student, instr consent)
28257-001 SEM, 04:15 P.M. - 06:45 P.M., Tu (09/05/2006 - 12/13/2006), LindH 202, TCEASTBANK, Sprengnether, Madelon, 4 credits
This course is designed for students who are constructing or completing their MFA theses in poetry. Required for students in the second and third years.

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ENGW 8150 Thesis Seminar: Fiction

(max crs 8; 2 repeats allowed; prereq Creative writing MFA student, instr consent )
32227-001 SEM, 04:15 P.M. - 06:45 P.M., Tu (09/05/2006 - 12/13/2006), AmundH 104, TCEASTBANK, Fitzgerald, Maria, 4 credits
This course is designed for students who are constructing or completing their MFA theses in fiction. Required for students in the second and third years.

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ENGW 8160 Thesis Seminar: Nonfiction

(max crs 8; 2 repeats allowed; prereq Creative writing MFA student, instr consent )
32228-001 SEM, 04:15 P.M. - 06:45 P.M., Tu (09/05/2006 - 12/13/2006), AmundH 156, TCEASTBANK, Hampl, Patricia, 4 credits
This course is designed for students who are constructing or completing their MFA thesis in nonfiction. Required for students in the second and third years.

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ENGW 8333 FTE: Master's

(No Grade Associated, unless otherwise noted; prereq Master's student, adviser and DGS consent)
19440-001 THE, TCEASTBANK, 1 credit

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ENGW 8990 MFA Creative Thesis

(max crs 48; 24 repeats allowed; prereq 8140, 8150, 8160, creative writing MFA student, instr consent)
17401-001 THE (09/05/2006 - 12/13/2006), TCEASTBANK, 2 - 8 credits
18984-002 THE (09/05/2006 - 12/13/2006), TCEASTBANK, 2 - 8 credits

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EngC

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

(prereq Grad student) 
19951-001 WKS, 12:45 P.M. - 02:00 P.M., Tu,Th (09/05/2006 - 12/13/2006), LindH 325, TCEASTBANK, 3 credits

22996-002 WKS, 02:30 P.M. - 03:45 P.M., Tu,Th (09/05/2006 - 12/13/2006), LindH 216, TCEASTBANK, 3 credits

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

(prereq Grad student, non-native speaker of English or instr consent)
22925-001 LEC, 11:15 A.M. - 12:30 P.M., Tu,Th (09/05/2006 - 12/13/2006), LindH 340, TCEASTBANK, 3 credits

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Professor Jani Scandura leads graduate seminar

Professor Jani Scandura leads graduate seminar