ÁÔÆæÖØ¿Ú

3 Credits

Section focus: Multiethnic American Literature

Tuesdays / Thursdays 12:30 – 1:50

Prof. Quan Ha

• Helena María Viramontes, Under the Feet of Jesus
• Julie Otsuka, When the Emperor Was Devine
• Selected readings posted on Canvas.

Gen Ed Attributes: Lit & Artistic Studies (L); Writing Course - Intermediate

3 Credits

Mondays / Wednesdays / Fridays 10:00am – 10:50 am

Prof. Eric Reimer

In attending to some big questions – e.g., what is literature? Why do/should we read and study literature? How do/should we read and study literature? What literature should we study? – this course will find you considering the role and possibilities of literary studies in the academy and in your own lives. As you encounter a wide range of literature drawn from the various genres (short stories, poems, novels, drama, film, etc.), you will (1) consolidate your understanding of fundamental literary concepts; (2) become familiar with periodization and literary history; (3) perceive how literary theory has transformed, complicated, and deepened the study of literature; (4) consider the relationship between art and life, story and history, image and word, etc.; and (5) develop the alacrity and critical skills necessary for reading, thinking and writing about literature. Most importantly, perhaps, our inquiry and discussions will help us realize things that “in all their different ways,” as Mary Gordon has written, “point to something we find difficult to name and yet know as our treasure.”

Gen Ed Attributes: Lit & Artistic Studies (L); Writing Course - Intermediate

3 Credits

Tuesdays / Thursdays 9:30 – 10:50

Prof. Quan Ha

• The Norton Anthology of American Literature, 1914-1945 (10th edition)
• Langston Hughes, Not Without Laughter
• Hemingway, The Sun Also Rises

Gen Ed Attributes: Lit & Artistic Studies (L); Writing Course - Intermediate

3 Credits

Tuesdays / Thursdays 11:00 – 12:20

Prof. Erin Costello Wecker

This course will examine the urban and rural landscapes of America where the Irish diaspora eventually settled. Our inquiry will begin on the east coast focusing on Boston, Massachusetts and New York, New York. Then we will begin a journey westward, making a stop in Chicago, Illinois before continuing on to mining communities of Leadville, Colorado, Butte, America, and Anaconda, ÁÔÆæÖØ¿Ú. Lastly, our study of Irish America will conclude in San Francisco, California.

Across all of these locales, we will explore multiple waves of Irish immigration, paying particular attention to the historic challenges these newcomers faced such as the “No Irish Need Apply” movement and popular texts such as Thistleton’s Jolly Giant, which oozed with Anti-Catholic and Anti-Irish sentiments. Through the prism of immigration, we will consider the various cultural traditions that the Irish brought with them to America such as music, food/recipes, knitting, lacework, politics, religion, humor, etc. which will demonstrate the indelible mark that the Irish and Irish Americans continue to make on American society.

Gen Ed Attributes: Lit & Artistic Studies (L); Writing Course - Intermediate

3 Credits

Tuesdays / Thursdays 12:30 - 1:50

Prof. Robert Baker

Open to students enrolled in the Wilderness & Civilization program for the Wilderness Studies minor. Literary study of nature writing and other genres introducing an ecocritical perspective, with revolving Anglophone texts.

Credits 3

Tuesdays / Thursdays 3:30 – 4:50 pm

Prof. Katie Kane

In this introductory course in literary and cultural theory, we will attempt to explore some of the most important primary issues and schools in twenty-first century criticism (eco-criticism, affect theory, queer theory, cultural studies). Along with the core focus of the class on the still-consolidating canon of contemporary criticism, we will consider the multiple ways in which both the truth and research methodology are in flux in our era: we will consider what it means to read a theoretical text, what it means to create an argument or assertion, and what it means to do research in Literary and Cultural Studies.

In addition to these “first-principles” objectives, however, we will also attempt to engage with such complexities of the current theoretical debate such as the role of emotion in art, the question of aesthetics in the Anthropocene, the problematic of decolonization, the use value of economic and political theory (among other concerns)., and, finally, with the crucial issues of race, class, gender, and sexuality. Throughout the course we will be moving toward our current early twenty-first century moment in which the range and scope of the labor of the literary critic seems—in light of the rise of a host of non-traditional representational and narrative forms—to be both expanding and contracting. Film, video games, the world of the digital, social media, all require the decoding and demystifying work of the engaged critic. A specific focus will involve thinking early in the semester about Indian Ed for All and reading Mark Twain’s Adventures of Huckleberry Finn and Percival Everett’s James along with responding to Kendrick Lamar’s Superbowl halftime show.

Required Texts:

• Everett, Percival.  James.
• Richter, David.  Falling Into Theory: Conflicting Views on Reading Literature.  ( a.k.a. FiT) Found in PDFs on UMBox.  You do not need to purchase the book. 
• Ryan, Michael.  Introduction to Criticism.  Found in PDFs on UMBox.  You do not need to purchase the book. 
• Twain, Mark.  Adventures of Huckleberry Finn.  YOU MUST HAVE THE NORTON CRITICAL EDITION, 4th Edition. 

Gen Ed Attributes: Writing Course - Advanced

CRN 72946 / 3 Credits

Mondays / Wednesdays 11:00 – 12:20

Prof. Rob Browning

“He understood what fierce, singular certainty creates and what it destroys. In response, he made himself a diffuse, uncertain thing, a mass of contradictory, irresolvable voices that speak truth plurally.”

                      --Zadie Smith, Changing my Mind (2009)

As we read a selection of Shakespeare’s comedies, histories, tragedies, and romances, we will attend to both what is strange and what’s familiar as we strive to make sense of these works within the cultural context of the playwright’s own time four centuries ago as well as in our own. We will not attempt to “cover” Shakespeare – an impossible task for a mere semester. The aim of this course, rather, is to provide you with a working knowledge of what makes Shakespeare’s dramatic texts interesting, meaningful, challenging, and, to generations of playgoers and readers, continually inspiring. To this end (which is really a beginning) we will focus our attention on how the plays engage with the basic elements of human life: love, fear, power, nature, death, aspiration, war, mourning, beauty, spirituality, sexuality, religion, psychology, family, race, politics, gender, friendship, performance, absurdity, pleasure, art, and entertainment. We'll conclude the semester with a unit on Shakespeare and artificial intelligence. 

Tentative list of plays: A Midsummer Night’s Dream; Henry V; Hamlet; Othello; The Tempest

Gen Ed Attributes: Lit and Artistic Studies (L); Writing Course - Advanced

3 credits

Tuesdays / Thursdays 9:30 – 10:50 am

Prof. Ann Emmons

“Place is security, space is freedom: we are attached to the one and long for the other” (Yi-Fu Tuan. Space and Place. The Perspective of Experience)

First, and mainly, this course is an opportunity to read talented writers too-seldom read. Beyond that central pleasure, we will consider when our writers’ gender and nationality prove consequential - and to what effect - and we will frame that fraught consideration within the context of the distinction between space - “freedom” - and place - “security” -  on American frontiers. Our first text, Miriam Toew’s Women Talking, makes our theoretical abstractions manifest. Toew’s women talking are followed by Edith Wharton (Summer), Willa Cather (O Pioneers! or My Antonia), Edith Summers Kelley (Weeds), Marilynne Robinson (Housekeeping), and Terry Tempest Williams (Refuge). Maggie Nelson’s The Argonauts, a capacious reimagining of gender and identity, concludes the course. Women’s work, women’s distinct national experience, and women’s relationship to domestic and Domestic space and place are of central concern in all of these texts. In most of these texts, our writers and their characters are in indirect conversation with American Men Writers and their iconic nation-building characters; Rip, Ishmael, Huck Finn, and Natty Bumppo haunt the syllabus. You will write and revise a short reflection paper on each text. Please note that this is a discussion course and participation - and timely completion of the reading - will be a significant component of your grade.

Credits 3

Mondays / Wednesdays 1:00 – 2:20 pm

Prof. Eric Reimer

Using an exciting and provocative selection of fiction, poetry, drama, film, visual art, and music (mostly from the last four decades), this course will examine how Irish and Northern Irish artists have represented and responded to violent political, ethnic, and sectarian conflict in the twentieth century, and how, in many ways, they have been out in front of the movements for peace. We’ll study and be aware of the longer histories of militant republicanism and militant loyalism, as well as formative historical moments like the Irish Rebellion of 1798, the Great Famine, World War I, etc., but the early parts of the course will focus on the War of Independence (1919-21) and the ensuing Irish Civil War (1922-23). We’ll also look at the Irish reality after Independence, with a focus on the socially destructive components of the struggle itself, the contrast between what the values of the struggle were supposed to have led to and what they did lead to, and the seeming failure to create a humane new social order. The second half of the semester will find us studying the literary and artistic responses to the contemporary “Troubles” in Northern Ireland, when centuries of troubled history were crystalized into a generation of political violence from the 1960s until the 1990s and when Northern Ireland went from being a forgotten political backwater within the U.K. to being an international conflict zone. We’ll conclude our inquiry by studying the inspiring though always fragile peace process in Northern Ireland – we’ll discuss the processing of grief and trauma, ask how victims should be celebrated and remembered at the end of a violent conflict and how political space can be expanded to allow for progressive change.

Our primary texts may include novels by William Trevor (Fools of Fortune), Colm Toibin (The Heather Blazing), John McGahern (Amongst Women), Robert McLiam Wilson (Eureka Street), Stuart Neville (The Ghosts of Belfast), drama by Frank McGuinness and Brian Friel, as well as poetry and non-fiction by Eavan Boland and Ciaran Carson, and a range of other shorter texts.

Credits 3

Tuesdays / Thursdays 12:30 – 1:50 pm

Prof. Brady Harrison

If, as Randall Jarrett famously remarked, a “novel is a prose narrative of some length that has something wrong with it,” and if, as some readers protest, short stories simply cannot offer the richness and complexities of longer works, then what could be more perfect than the novella, that rare, gem-like form somewhere-in-between?  Despite being somewhat a literary stepchild, the novella in recent years has been enjoying something of a popular resurgence.  Building on this renewed interest in a liminal, yet often astonishing form, LIT 391 explores a limited number of exemplary works from the tradition of the novella and sets them in their historical, cultural, and, especially, literary contexts. We’ll read about one novella a week, and encounter a stunning diversity of settings, narrative strategies, thematics, styles, heartbreaks, and more.

Reading List (Subject to Revision!)

• Cisneros, Sandra. The House on Mango Street. (Vintage.)
• Conrad, Joseph.  Heart of Darkness 2^nd Ed. (Bedford/St. Martin’s.)
• Fitzgerald, Penelope.  Offshore. (Mariner.)
• Kafka, Franz.  Kafka:  The Complete Stories. (Schocken.)
• King, Stephen. The Mist. (Scribner.)
• Maclean, Norman.  A River Runs Through It. (Chicago.)
• Melville, Herman.  Billy Budd, Sailor and Selected Tales.  (Oxford World’s Classics.)
• Oates, Joyce Carol.  Beasts.  (Carroll and Graf.)
• Ondaatje, Michael.  Coming Through Slaughter. (Vintage.)
• Watson, Sheila.  The Double Hook. (M&S.)
• Welch, James. Winter in the Blood.(Penguin.)
• Wharton, Edith.  Ethan Frome. (Broadview.)

CRN 74234 / Credits: 3

Mondays / Wednesdays 3:00 - 4:20

Prof. Rob Browning

Biblical scholar Walter Brueggemann tells us that it is “the vocation of the prophet to keep alive the ministry of imagination, to keep on conjuring and proposing futures alternative to the single one the king wants to urge as the only thinkable one” (The Prophetic Imagination, 40). In this course, we will study two of the most influential prophetic poets of modern times, each of whom understood himself to be working within a revolutionary tradition that extends back to Moses, Isaiah, and John of Patmos and forward to prophets yet unborn--future visionaries they hoped their own texts would inspire. Because reading the major works of just one of these authors is a daunting task, we’ll need to focus our efforts. One of our major tasks will be to answer the not-so-simple question of what, for Milton and Blake, respectively, it means to see -- on the one hand, to see with the eyes and, on the other hand, to see with spiritual insight or the imagination through the eyes. Growing from these questions: what does it mean to be a “visionary” poet in the early modern, Western European world? Closely related to the matter of sight is the question of how each poet understood tradition, history, and creative influence, which is essential to appreciating how Blake regarded Milton, his predecessor and guide, and how he strove to envision the unrealized potential of “Milton.” Most importantly, this class will be an opportunity to explore the rich and sublimely inventive cosmologies of Paradise Lost and Blake’s prophetic poems, which I hope may become an inspiration to you in your own creative and intellectual endeavors. 

Texts you'll need: John Milton, Paradise Lost, ed. B. Lewalski (Wiley Blackwell); Milton’s Selected Poetry and Prose, ed. Rosenblatt (Norton Critical Editions); William Blake, Blake’s Poetry and Designs, eds. Mary Lynn Johnson and John E. Grant (Norton Critical Edition).

3 Credits

Thursdays 3:00 – 5:50 pm

Prof. Brady Harrison  

In LIT 521, we’ll read a necessarily limited selection of famous—or infamous—American maximalist fictions. Building upon the tradition of such gargantuan world masterpieces as Gargantua and Pantagruel, Don Quixote, Tristram Shandy, War and Peace, Ulysses, and others, these fictions seek to exceed the bounds of the novel and become worlds unto themselves. Sometimes called modern epics, megatheria, or encyclopedic fictions—their detractors sometimes dub them slabs, doorstops, or “the books you own but never read”—they offer teeming casts of characters, multiple settings, mixes of styles and genres, complex thematics and obsessions, and test the patience and concentration of even the most dedicated readers. Not for the faint of heart, these American monuments dive as deeply as they can into the American experience (and perhaps into what it means to be alive, for the merest moment, on a tiny planet orbiting a modest star in an inconceivably vast cosmos) and can be numbered among the very greatest literary works ever produced. Fair Warning: this course requires steady, exuberant reading.

Reading List (Subject to Revision!)

• Ellison, Ralph. Invisible Man. (Vintage.)
• Luiselli, Valeria. Lost Children Archive. (Vintage.)
• Melville, Herman. Moby-Dick. (Penguin Classics.)
• Wallace, David Foster. Infinite Jest. (Back Bay Books.)

Artwork by Elsa von Frytag-Loringhoven, Dada Artist Poet, Dadaist, Sculptor, Assemblagist, Painter, Living Collage to be worn and constructed out of found objects (as above)

3 Credits

Mondays 3:00pm – 5:50 pm

Prof. Katie Kane

“Theory can do more the closer it gets to the skin.” —Sara Ahmed, Living a Feminist Life

In this seminar we will read in and explore the newly minted and restive genre of Autotheory to which belong textual and performative objects as different as Maggie Nelson’s Argonauts, Layli Long Solider’s Whereas, and Judith Butler’s Precarious Lives. Autotheory is an emergent term, which began to circulate after the publication of Nelson’s The Argonauts in 2015. The term owes much to Paul B. Preciado’s use of “auto-theory” in TestoJunkie. Autotheory for Preciado involves the imbrication/layering of performative modes such as post-memoir and queer feminist life writing. Autotheory also comes out of earlier feminist performance art, body art, and conceptual art practices, as well as intersectional feminist writings by BIPOC artists, writers, and theorists—Gloria Anzaldúa, Cherríe Moraga, and Audre Lorde. Autotheory can provisionally be defined as a practice of performing, embodying, enacting, processing, metabolizing, and reiterating philosophy, theory, and art criticism in the contexts of neoliberalism, late capitalism, and the post-confessional technologies of social media. The seminar will work to provide space to reflect on the aesthetics, politics, and ethics of “Autotheory” as a self-reflexive and performative practice of the early twenty-first century.

The Hundreds:

“Perhaps a theory orders the world; perhaps poetry disrupts it . . .”

We will do weekly Hundreds, a collaborative exercise in “poetic and noetic” contemplation in “an experiment in keeping up with what is going on” in our worlds. (The Hundreds are genre non-specific, but for initiatory purposes think prose poem theory fragments, then discard that categorical designation if you want.) We will make space in the seminar each Monday for the discussion and/or reading of this writing, which may or may not unfold into the longer presentation, or in the final submission (that is, the three exercises of the seminar might, ultimately, be interlinked). Our Hundreds should be connected in some way to the material we are reading and working through, even if the piece wanders far afield or initiates from outer regions.

The final project will be equally invested in critical theory and in memoir (as widely and variously conceptualized).

Possible Reading List:

• Anzaldúa, Gloria, Borderlands/La Frontera
• Berlant, Lauren and Kathleen Stewart. The Hundreds
• Clairmont, Corwin (Salish) Two-Headed Arrow/Tar Sands Project
• Cvetkovich, Ann, Depression: a Public Feeling
• Fournier, Lauren, Autotheory as Feminist Practice in Art, Writing, and Criticism.
• Gutierrez, Raquel, Brown Neon
• Muñoz, José, Cruising Utopia or The Sense of Brown
• Nelson, Maggie, Argonauts.
• Nixon, Lindsay (Cree, Saulteaux and Métis) nîtisânak
• Precidio, Paul, Testo Yonqui / Testo Junkie
• Sharpe, Christina, Ordinary Notes.

3 Credits

Tuesdays 3:00pm – 5:50 pm

Prof. Louise Economides

This course will explore two innovative (and interrelated) aesthetics that have emerged in the Twenty-First Century: the New Weird and Eco-horror. Both build upon previous genres/movements ("old weird" pulp and speculative fiction, surrealism and the gothic to name a few) but re-imagine these forms in order to explore pressing socio-ecological crises such as climate change, petromodernity, neo-authoritarianism and mass extinction. In their introduction to an anthology titled The New Weird (2008), Jeff and Ann VanderMeer define this aesthetic as “a type of urban, secondary-world fiction that subverts the romanticized ideas about place found in traditional fantasy" while adopting a genre-bending style that hybridizes elements from surrealism, horror and science fiction. In embracing such non-realist forms in order to address "real world" problems, weird fiction challenges Amitav Ghosh's assumption (in The Great Derangement) that "serious" literature which addresses issues such as climate change must avoid surrealism or magical realism for fear such treatment would rob global warming's "highly improbable occurrences" of their "urgency . . . [the fact] that they are actually happening on the earth, at this time." We will address links between New Weird art and psychoanalysis, new materialism, feminism, queer theory and ecocriticism in order to challenge such notions. Likewise, eco-horror “assumes that environmental disruption is haunting humanity’s relationship with the non-human world” in the Anthropocene era, to quote ecocritics Stephan A. Rust and Carter Soles. This new genre addresses ecophobia (fear of nature) but also ways that eco-horror can mobilize environmental consciousness, or fear for jeopardized ecosystems via "revenge of nature" tropes, creature features and hauntology. We'll explore literary expressions of the New Weird and eco-horror in work by authors such as Jeff VanderMeer (the Southern Reach trilogy), China Miéville (The City & The City, Last Days of New Paris), Karen Russell (Swamplandia and Orange World) and Nnedi Okorafor (Who Fears Death), as well as significant films/television series that reflect these aesthetics (such as The Last Winter, Annihilation, Frogs, Us, Vesper and The Last of Us).       

"The world is full of bastards, the number increasing rapidly the further one gets from Missoula, ÁÔÆæÖØ¿Ú." -- Norman Maclean, A River Runs Through It

3 Credits

Tuesdays 6:00pm – 8:50 pm

Prof. Robert Stubblefield

Fulfill your Literary & Artistic Studies general education requirement by spending Tuesday evenings reading, discussing, and in the company of ÁÔÆæÖØ¿Ú literary legends past, present, and future. Each week brings another writer to the stage for a reading followed by a lively question and answer session. This class features Missoula and ÁÔÆæÖØ¿Ú's own poets, novelists, playwrights, songwriters, screenwriters, and scholars. Register now or email Professor Robert Stubblefield at robert.stubblefield@umontana.edu for more information.

 In the course of the semester, we will explore the diversity of regional literature with an eye to its place in the larger literary traditions. Students will both read and hear works read aloud by some of ÁÔÆæÖØ¿Ú’s leading authors, and will study both the craft and the content of their writings. Class meetings will open with discussion – a review of assigned readings and the critical, social, historical and/or political issues explored by the guest writer’s work. Following a live reading, the writer will discuss their work with the class and answer questions. Students will prepare questions for the writers developed from a packet of readings and criticism. Following the presentations, students will have an opportunity to question working writers/published authors about their careers and the elements of their craft. Included in the roster will be writers who produce poetry, novels, journalism, short stories, essays, plays, songs, and screenplays.

Gen Ed Attributes: Literary and Artistic Studies (L)

This beginning writing workshop emphasizes the reading, discussion, and revision of students' short fiction. Students will be introduced to the technical elements of writing fiction. No prior experience in writing short fiction required.

Gen Ed Attributes: Expressive Arts Course (A)

3 Credits

This beginning writing workshop focuses on the reading, discussion, and revision of students' poems. Students will study and use models of poetic techniques. No prior experience in writing poetry required.

Gen Ed Attributes: Expressive Arts Course (A)

3 Credits

A study of the art of nonfiction through reading and responding to contemporary nonfiction and the writing of original nonfiction works. Focus is on creative expression, writing technique and nonfiction forms. Students begin with writing exercises and brief essays, advancing to longer forms as the semester progresses.

Gen Ed Attributes: Expressive Arts Course (A)

3 Credits

Credits 3

Section 01: Staff

Section 02: Prof. Erin Saldin

Prereq, completion of CRWR 210A with a "B" average or better. An intermediate fiction writing workshop. Students will be expected to finish 3 or 4 substantial stories for the course. Although some outside material will be considered, the primary emphasis will be analysis and discussion of student work.

Credits 3

Tuesdays / Thursdays 2:00 – 3:20 pm

Prof. Kelly Schirmann

Prereq., Completion of CRWR 211A with a "B" average or better. An intermediate workshop involving critical analysis of students' work-in-progress as well as reading and discussion of poems in an anthology. Numerous directed writing assignments, experiments, exercises focused on technical considerations like diction, rhythm, rhyme, and imagery.

Credits 3

Tuesdays / Thursdays 12:30 – 1:50 pm

Prof. Robert Stubblefield

Prereq., completion of CRWR 212A or CRWR 210A with a "B" average or better. An intermediate nonfiction workshop. Students read and respond to model essays, in addition to creating and revising original essays for workshop review. Assignments and exercises focus on writing craft and research techniques.

Credits 3

Mondays 12:00 – 2:50 am

Prof. Emily Ruskovich

Prereq, junior standing and CRWR 310. An advanced writing workshop in which student manuscripts are read and critiqued. Rewriting of work already begun (in CRWR 310 classes) will be encouraged.

Credits 3

Thursdays 3:00 – 5:50

Prof. Brian Blanchfield

Credits 3

Wednesdays 3:00 – 5:50 pm

Prof. Emily Ruskovich

Prereq, consent of instr. A creative writing workshop focused primarily on fiction.

Level: Graduate

Credits 3

Wednesdays 3:00 – 5:50 pm

Staff

Prereq, consent of instr. A creative writing workshop focused primarily on fiction.

Level: Graduate

Credits 3

Tuesdays 6:00 – 8:50 pm

Prof. Brian Blanchfield

Prereq., consent of instr. A creative writing workshop focused primarily on poetry.

Level: Graduate

Credits 3

Mondays 6:00 – 8:50 pm

Prof. Chris Dombrowski

Prereq., consent of instr. A creative writing workshop focused primarily on poetry.

Level: Graduate

Credits 3

Thursdays, 6:00 - 8:50

Staff

Prereq, consent of instr. 

Level: Graduate

Credits 3

Prof. Traolach O'Riordain

This course represents an introduction to modern Irish in both its spoken and written forms: basic principles of grammar and sentence structure are covered. Emphasis is placed on the application of these principles in every-day situations. This course is housed in the English Department. The GenEd Foreign Language can be fulfilled by successfully completing IRSH 101 and IRSH 102.

Credits 3

Prof. Traolach O'Riordain

Students will continue their study of the verbs; engage more complex syntax and grammatical constructions; and consult the prose and poetry of the written and oral literary traditions.  For proficiency equal to the 202-level, students must take the three semester sequence (101, 102, 201, & 202) of Irish language study.  

Gen Ed Attributes: Language Requirement

Credits 3

Distance learning - Internet instruction

Prof. Traolach O'Riordain

Offered every other spring. This course surveys the history of Ireland and the Irish, from the enduring myths and legends of the island’s first inhabitants where the potent social and political representation of the Bull was used to demonstrate power, to the bullets and bombs that defined the lives of many in the northern part of the country in the twentieth century. Like any place, Ireland has a complicated and complex history, where many different groups coalesced and divided along social, economic and political grounds.

Gen Ed Attributes: Writing Course - Intermediate

Credits 3

Tuesdays / Thursdays 9:30 – 10:50 

Prof. Erin Costello Wecker

Do you like music? Are you curious about how music informs cultural identity? Do you need to satisfy your Intermediate Writing requirement for General Education?

If you said yes to any of these questions IRSH 382 is the course of your dreams!

In IRSH 382 we will explore the concept of “Irishness” through generative works of music by artists such as Seán Ó Riada, The Wolf Tones, The Pogues, Sinéad O’Connor, U2, The Cranberries, Méav Ní Mhaolchatha, and Soulé (not an exhaustive list). We will examine traditional Irish music as a cultural form. Next, we will move through genres and decades charting political and cultural shifts as represented in folk, rebel, rock, punk, and pop music. We will explore concerns of authenticity and hybridity in Irish popular music and apply theoretical ways of understanding the reproduction and marketing of “Irishness” in a global context.

Ed Attributes: Writing Course - Intermediate. 

Credits 3

Distance learning - Internet instruction

Prof. Traolach O'Riordain

Gen Ed Attributes: Writing Course - Intermediate

3 Credits

Staff

UM: Offered every term. Prereq., WRIT 095 or proof of passing score on writing diagnostic examination, ACT English, 22-27, ACT Combined English/Writing 18-31, ACT Writing subscore 7-10, SAT Writing Score 440-690, SAT Essay subscore 7-10, ACT Writing subject score 19-32, ACT English Language Arts (ELA) score 18-31, SAT Writ/Language Test score 25-36. Emphasis on rhetorical understanding, textual analysis, and genre flexibility. Grading A-F, or NC (no credit). Missoula College description for this course: Offered every term. Prereq., WRIT 095 or proof of passing score on writing diagnostic examination, ACT English, 22-27,ACT Combined English/Writing 18-31, ACT Writing subscore 7-10, SAT Writing Score 440-690, SAT Essay subscore 7-10, ACT Writing subject score 19-32, ACT English Language Arts (ELA) score 18-31, SAT Writ/Language Test score 25-36., WRIT 095 or proof of appropriate SAT/ACT essay, English/Writing, writing section scores, appropriate MUSWA scores, or proof of passing scores on Writing Placement Exam). Expository prose and research paper; emphasis on structure, argument, development of ideas, clarity, style, and diction. Students expected to write without major faults in grammar or usage. Grading A-F, or NC (no credit). Co-Requisite Support sections of WRIT 101 are 4 credits; they are offered Autumn and Spring. Placement is based on UM Writing Placement Assessment score, ACT Combined English/Writing <18, ACT Writing subscore <7, SAT Writing Score <440, SAT Essay subscore <7, ACT Writing subject score <19, ACT English Language Arts (ELA) score <18, SAT Writ/Language Test score <25, or referral by WRIT 101 instructor. Designed for students who need additional instruction, support, and practice integrating critical thinking, reading and writing.

Gen Ed Attributes: Introductory Writing

3 Credits

Offered every term. Offered at Missoula College. Prereq., WRIT 101 (or higher) or equivalent or proof of appropriate SAT/ACT essay, English/Writing, writing section scores, appropriate MUSWA scores, or proof of passing scores on Writing Placement Exam. Introduction to technical writing situations that integrate text, design, and graphics. Emphasis is on evidence-based, informative writing that uses design and graphics to visually represent logic and organization. Course focuses on writing as a process and includes student self-assessment. Major assignments include a pure technical document, exploration of credibility, and public science writing. Students are expected to write without major faults in grammar or usage and to have basic computer literacy.

Gen Ed Attributes: Writing Across the Curriculum WRIM

3 Credits

Staff

Offered autumn and spring. Prereq., placement or C or better in WRIT 101; ACT English 28 or higher; ACT Combined English/Writing 32-36; ACT Writing subscore 11-12; SAT Writing Score 700-800; SAT Essay subscore 11-12; ACT Writing subject score 33 or higher; ACT English Language Arts (ELA) score 32 or higher; SAT Writ/Language Test score 37 or higher. Offers instruction in rhetorical reading and writing, particularly the study and practice of written argumentation in different academic and civic contexts.

Gen Ed Attributes: Writing Across the Curriculum WRIM; Writing Course - Introductory WRIN

Credits 3

Tuesdays 5:00 - 7:50 p.m.

Staff

Offered autumn. Reading of representative texts covering the history, genres, authors, and themes of literature for students in middle school and high school. Emphasis on literature circles, large and small group activities, integrated language arts strategies, author study, censorship, and text sets. Required of students pursuing secondary English major and minor teaching certificates. Level: Undergraduate-Graduate.

Credits 3

Mondays 5:00 - 7:50 p.m.

Staff

Offered autumn. Reading of representative texts covering the history, genres, authors, and themes of literature for students in middle school and high school. Emphasis on literature circles, large and small group activities, integrated language arts strategies, author study, censorship, and text sets. Required of students pursuing secondary English major and minor teaching certificates. Level: Undergraduate-Graduate.