ÁÔÆæÖØ¿Ú

3 Credits

Section 03: Mondays / Wednesdays / Fridays 1:00 – 1:50

Prof. Rob Browning

This course is about interpreting literature, with the primary goal of helping you to read with greater understanding, independence, and pleasure. Our focus throughout the semester will be the question of how interpretation works: in short, what makes a given literary text meaningful and (quite possibly) interesting? How should a text’s genre—its adherence to the conventions of drama, epic poetry, or fiction—affect the ways we go about making sense of it? What do the most basic elements of literature (diction, figurative language, voice, sound, and structure) contribute to a text’s potential meanings? How do personal experiences and perspectives affect what each of us sees in a text and the ways we each interpret what we see? How can one’s understanding and appreciation of a particular work of literature change over time?

In the spirit of a 100-level literature course, we will be studying a wide variety of texts, including short fiction, poetry, a play, a film, a work of nonfiction, and a novel. I have chosen our readings with great care, and believe you will find each one of them (each in its own way) to be thought provoking.

Gen Ed Attributes: Lit & Artistic Studies (L); Writng Across Curriculum

3 Credits

Tuesdays / Thursdays 2:00 – 3:20

Prof. Sam McPhee

Say that you come to this class as a wildlife biologist. Why, as a biologist, should you read Matsuo Basho’s The Narrow Road to the Interior or Nan Shepherd’s The Living Mountain? Read them because they are lovely, and because such loveliness, like any field or river, is an end in itself. But you can also read these texts as lessons in observation and description. Those two practices belong to the poet as surely as they belong to the biologist, but when we make a subject of the relationship between observation and description, we are squarely in the poet’s domain.    

In this class, we’ll read a great variety of ecologically-minded writers—among them Wendell Berry, Rachel Carson, Masanobu Fukuoka, Pope Francis—as well as writers for whom the enigmatic relationship between creature and home is a kind of accidental subject, approached sidelong, often through poetry. William Wordsworth, Marilynne Robinson, Nan Shepherd, Melinda Mueller. You might think of these two different kinds of writers, ecologists and accidental ecologists, as representatives of a tension that I hope to maintain throughout the semester—a tension between apocalypse and beauty, crisis and joy. Wendell Berry says it perfectly in a very short poem: “O when the world’s at peace / and every man is free / then will I go down unto my love. // O and I may go down / several times before that.” In other words, the ecological problems we face in the Anthropocene are complex, demoralizing, vast; but O the earth is beautiful.

A trio of paradigms—perception, love, repair—will focus our attention this semester. Everything we do as a class, all of our reading, conversation, journalling, essaying, will square with one or more of these three paradigms. And of the three, repair, considered as a practice, even a disposition, seems to me essential in this century, ours, famed already for its hurricanes, heatwaves, wildfires, extinctions. Think of this class as an exploration (in reading, in writing) of the many ecological horrors that vex us as a species; and think of this class as an exaltation of our sublimely beautiful world. 

Gen Ed Attributes: Lit & Artistic Studies (L); Writng Across Curriculum

3 Credits

Tuesdays / Thursdays 9:30 – 10:50

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 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); Writng Across Curriculum

Credits 3

Tuesdays / Thursdays 11:00 – 12:20

Prof. Katie Kane

In this introductory course in literary and cultural theory, we will attempt to explore representative schools of and issues in contemporary criticism (formalism, postmodernism, eco-criticism, postcolonial/colonial criticism, critical race theory, trans-studies, psychoanalytic criticism and others).  We will be working, therefore, to build an analytic and critical vocabulary for the activity of reading select number of texts from the canons of literary criticism and from the canons of Anglophone culture.  Prior to engaging with the core of the class, 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 on the filmic texts of Sinners and Adolescence will allow for us to work through major issues and schools of cultural criticism.

Gen Ed Attributes: Writing in the Disciplines

3 credits

Wednesdays 12:00 – 2:50

Prof. Ruth Vanita

This course introduces you to one of the world’s great literary works and also to Hindu philosophical, aesthetic, and ethical traditions. The Gita is a dialogue, addressing questions that people have always wrestled with, such as duty to family versus right action; necessary violence in self-defence versus concern for non-violence; war and justice; birth, death, rebirth, and immortality; the relationship between human, animal, and divine. We examine its rhetoric, lyricism and emotional heft, and compare its world-view with others, such as the ancient Greek and the medieval Christian. We also consider how diverse thinkers, such as Emerson, Thoreau, Gandhi, Sri Aurobindo, Vivekananda, T. S. Eliot, Walt Whitman, Yeats and Oppenheimer, have responded to the Gita.

Gen Ed Attributes: Ethical & Human Values EHV

3 Credits

Tuesdays / Thursdays 12:30 – 1:50

Prof. Robert Baker

This course is an introductory study of Shakespearean comedy, tragedy, and romance. We will read two comedies, As You Like It and Twelfth Night; three tragedies, Hamlet, King Lear, and Antony and Cleopatra; and two romances, The Winter’s Tale and The Tempest. Comedy is a genre that celebrates the energies of youth, eros, and revived community against the forces of age, law, and deadening custom. Above all it affirms the place of romantic love in a flourishing life. Tragedy is a genre that represents the breaking of life, or the going under of life, and all the blindness, fury, isolation, and destruction that this so often involves. Yet it represents these bleak realities in a way meant to stir in us a larger perspective on human suffering, a deeper understanding of the intertwining of character and fate in a life. Romance, a genre of magic and wonder, the fabulous and the miraculous, love and grace, tells of the breaking and mending of life. It discloses powers of renewal that sometimes allow us to begin again on the other side of disaster.

“You see how this world goes,” Lear says to Gloucester at one point in King Lear. “I see it feelingly,” Gloucester replies. We will try to see into the life of these seven plays and, further, into the abiding human concerns they wrestle with.

Gen Ed Attributes: Lit and Artistic Studies (L); Writing in the Disciplines

Credits 3

Tuesdays / Thursdays 3:30 – 4:50

Prof. Louise Economides

This course explores a "long Romantic" tradition that has roots in the Eighteenth Century and extends into the Nineteenth Century (and beyond): namely, the Gothic. We'll address the Gothic not simply as a popular artform that emerged during the Romantic period but also as one that marked important changes in Enlightenment and Post-Enlightenment politics around subjectivity (class, race, gender, sexuality and species identity), psychology (especially the construction of madness and monstrosity), Promethean art and technology, and nascent concern about modernity's ecological impacts. Some of the issues we'll address are why the Gothic has been an enduring aesthetic, its links to contemporary horror (including ecohorror), its opening up of space for transgressive identities and for debates about art's social roles. We may be reading poetry by Alexander Pope, Samuel Taylor Coleridge, Charlotte Smith, John Clare, Lord Byron, John Keats, P.B. Shelley and others. Some of the novels we may address are Ann Radcliffe's The Mysteries of Udolpho, Jane Austen's Northanger Abbey, Mary Shelley's Frankenstein and/or The Last Man, Charles Maturin's Melmoth the Wanderer, Emily Brontë 's Wuthering Heights and Bram Stoker's Dracula (along with film adaptations of some of these texts). We'll also be referencing major branches of literary theory in the course of our investigations, including psychoanalysis, feminism(s), gender and sexuality studies, postcolonialism and ecocriticism.     

Credits 3

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

Prof. Eric Reimer

Recognizing that the convergence of Europeans and West Indians from 1492 onwards entails not merely an encounter of peoples but also an encounter of discourses, this will be a course in what we might call “new world poetics.” We’ll begin the course by reading a series of early modern and Renaissance texts—for example, Columbus’s journals and Shakespeare’s The Tempest—as a way of assessing European models of understanding the “New World,” and considering how future identity possibilities for West Indians are in some sense scripted. We’ll at this point be well positioned to move into various works of contemporary Caribbean poetry, fiction, and non-fiction, which will be drawn from Jean Rhys’s Wide Sargasso Sea, Derek Walcott’s Omeros, Samuel Selvon’s The Lonely Londoners, Michelle Cliff’s No Telephone to Heaven, Patrick Chamoiseau’s Solibo Magnificent, Jamaica Kincaid’s A Small Place, and Paule Marshall’s Praisesong for the Widow. Examining these texts transhistorically as engagements with and responses to those early “scripts,” we’ll be considering responses to European imperialism from standpoints of different degrees of disengagement from it: indigenous, creole, cosmopolitan exile, etc. The various connotations of “beach reading” will circulate throughout the course; the phrase suggests, among other things, the tendency of early explorers to describe native identities and islands based on surfaces and coastlines, as well as the idea of the Caribbean today as a “brilliant vacuity,” a locale for sunshine, sensuality, and umbrella drinks.

Credits: 3 

Mondays / Wednesdays 4:00 - 5:20

Prof. Rob Browning

This is a course about creation – of the astrophysical sort (cosmology), the divine sort (Genesis), and the artistic sort (poetics, fiction, cinematics). We will examine the confluences of these three kinds of creation beginning with the advent of modern astronomy in the early 17^th century, when Earth joined the planets, and ending with our quantum-mechanics-haunted present day. As the spherical, totalizing cosmologies of ancient Western philosophy began to give way to the revolutionary findings of Copernicus, Galileo, et al., a new cosmic imaginary developed, one that experiences the universe as bottomless, shapeless, and temporally unbounded. Finding the accounts of astrophysicists to be an insufficient guide within these modern infinitudes, each of the authors we’ll study attempts to reveal, make, or play with meaning on the cosmic scale, drawing together perspectives not just from mathematics and empirical evidence, but also from philosophy, theology, history, politics, psychology, aesthetics, and the imagination. Since the time of Galileo, what roles has this practice of cosmology-making served? During our own time, when startling revelations about the nature of the universe come to light by the year, of what value are the cosmoses invented by creative artists?

primary texts (tentative): Galileo, The Starry Messenger and Dialogue on the Two Chief World Systems; John Donne’s Anniversarie poems; John Milton, Paradise Lost (selections); William Blake, The Book of Urizen; Edgar Allan Poe, Eureka: a Prose Poem; Alfred, Lord Tennyson, In Memoriam; stories by H.P. Lovecraft; Olaf Stapledon, Star Maker; poems by Anna Barbauld and Adrienne Rich; Philip K. Dick, Ubik; Ted Chiang, Anxiety is the Dizziness of Freedom; Christopher Nolan’s Interstellar; Benjamin Labatut, When We Cease to Understand the World; Chanda Prescod-Weinstein, The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred.

3 Credits

Mondays 3:00pm – 5:50 pm

Prof. Eric Reimer

This course will investigate the Atlantic Ocean as a circulatory system traversed by bodies, goods, texts, and ideas. A prelude of sorts will find us reading early modern and Renaissance texts—e.g., Columbus’s journals, Shakespeare’s The Tempest, Montaigne’s essays—as a way of assessing European models of understanding the “New World” and considering how future identity possibilities in the West Indies and the Americas are in some sense scripted. Having established what we might call a “new world poetics,” we will then examine a range of texts (literary, non-literary, visual, musical, etc.) that (1) carry various appeals to ancestral memory, confrontations with historical trauma, invocations of an Adamic imagination, promises of cross-cultural relations, etc.; and (2) collectively posit the Atlantic as a transnational space that is at once treacherous and emancipative. The course’s historical contexts will include the age of discovery, the slave trade and the Middle Passage, Irish immigration and famine, European colonial histories of settlement, the Windrush generation and postcolonial British identity, African American and contemporary Caribbean history, diasporic roots and routes, etc.

Primary texts will likely include The Tempest (Shakespeare, 1611), Cuban Counterpoint (Fernando Ortiz, 1940), Wide Sargasso Sea (Jean Rhys, 1966), The Lonely Londoners (Sam Selvon, 1956), No Telephone to Heaven (Michelle Cliff, 1987), A Small Place (Jamaica Kincaid, 1988), Crossing the River (Caryl Phillips, 1995), Omeros (Derek Walcott, 1990), Solibo Magnificent (Patrick Chamoiseau, 1988), Praisesong for the Widow (Paule Marshall, 1984), and TransAtlantic (Colum McCann 2013), as well as one feature-length film (to be announced). Secondary texts may include essays by Montaigne, Jose Piedra, Derek Walcott, Edouard Glissant, Jose Marti, Paul Gilroy, James Clifford, Homi Bhabha, Caren Kaplan, Sydney Mintz, Cynthia Enloe, and others.

3 Credits 

Tuesdays 3:00pm – 5:50 pm

Prof. Katie Kane

I propose the following definition of the nation [region]: it is an imagined political community—and imagined as both inherently limited and sovereign.  It is imagined because the members of even the smallest nation [region] will never know most of their fellow-members, meet them, or even hear of them, yet in the minds of each lives the image of their communion.... Communities are to be distinguished, not by their falsity/genuineness, but by the style in which they are imagined.... Finally, [the nation] is imagined as a community, because, regardless of the actual inequality and exploitation that may prevail in each, the nation [region] is conceived as a deep, horizontal comradeship.”--Benedict Anderson [re-tooled]

This workshop-seminar hybrid will take up and examine the culturally constructed places that we live or believe we live: not, however, as we have been at the academy accustomed to do, on the national scale, but rather in the neglected terms of our more vibrant habitude, the densely imagined and contested terms of the local.  We will start with the construct of the Deep North, the ÁÔÆæÖØ¿Ú of our current life, a cultural and geographic sub-region of the United States cognate with the Deep South—both national sectors in which white supremacism not only has flourished but has also found a home.  The Deep North includes those states and provinces that are part of or importantly adjacent to the current “Oil Extraction Belt” (North Dakota, ÁÔÆæÖØ¿Ú, Wyoming, Alberta, South Dakota, Idaho, and Manitoba), where capitalist settler colonialism is perpetually extractive, forever located in the phase of primitive accumulation in which dispossession of land, resources, personhood, and sovereignty is an ongoing and constitutive feature.  After reading about region in the texts of critical theory, we will familiarize ourselves with some of the ways in which ÁÔÆæÖØ¿Ú is written into culture: Jim Welch’s Winter in the Blood, Heather Cahoon’s Horsefly Dress, and Sterling HolyWhiteMountain’s short stories, along with “ÁÔÆæÖØ¿Ú classics” such as A River Runs Through It, and The Story of Mary MacLane will be important to our work .  We will range afield from the state of ÁÔÆæÖØ¿Ú by engaging with texts from workshop-seminar participants’ “home” regions as they are suggested by the community (so a significant section of the  syllabus will be constructed by us during the early part of the semester).  As an instance of reading in region, I would propose Eileen Myles Chelsea Girls (New England), excerpts from Brian Blanchfield’s Proxies (The Piedmont), and Sean Hill’s Blood Ties and Brown Liquor (Georgia).  Art and writing of the collective—theoretical, archival, exploratory, lyric, poetic—will, in all genres, be read weekly. 

3 Credits

Thursdays 3:00pm – 5:50

Prof. Robert Baker

In this course we will read three or four works by each of three great writers of fiction of the late twentieth and early twenty-first centuries: Toni Morrison (1931-2019), W. G. Sebald (1944-2001), and Roberto Bolaño (1953-2003).

Erich Auerbach, in Mimesis, a classic account of the emergence of realist representation in modern European literature, says that the nineteenth-century realist novel has two essential features: first, it represents ordinary people as “tragic, ambiguous, and problematical,” and second, it embodies a “historical” understanding of both the past and the present, exploring the way particular individuals are caught up in larger historical dynamics they only partially understand. Auerbach concludes his book by tracing the way the realist novel is developed, recast in multi-perspectival forms, in the modernist period of the first half of the twentieth century. The novel of our time, be it largely realist or largely modernist or somehow both at once or yet something else, is still often shaped by these dimensions of the realist and modernist novel.

Morrison, Sebald, and Bolaño are concerned to represent not only the interiorities and tragic predicaments of characters but also the sweep of historical forces and events that bear on these characters’ lives. Each tends to concentrate on a different region of history: Morrison on American history, in particular African American history, from the time of slavery through the present; Sebald on the history of European modernity and, within this history, the Holocaust; Bolaño on Latin American history of the second half of the twentieth century, in particular the conflict between emancipatory hope and counter-revolutionary reality that marked the region throughout this period. All three differ considerably in style, in voice, in the form they give their works. Yet they are all deeply concerned with history, violence, trauma, forgetting, memory, and vision, on both individual and collective planes of experience. We will try to see what their works disclose.

Provisional list of texts: Toni Morrison, Song of Solomon, Beloved, Jazz, The Source of Self-Regard; W. G. Sebald, The Emigrants, The Rings of Saturn, Austerlitz; Roberto Bolaño, Distant Star, Amulet, By Night in Chile, The Savage Detectives

"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

Mondays / Wednesdays 12:00-1:20

Prof. Emily Ruskovich

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 3:30 – 4:50 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

Tuesdays / Thursdays 9:30 – 10:50 

Prof. Erin Saldin

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. Sean Hill

Poetry is the art of connection—yoking disparate things together with metaphor, stringing sounds together in patterns of rhythm and rhyme, employing the power of syntax with a chain of words. In this course, students will analyze published poems for specific strategies of connection and discuss the ways the poet uses these various techniques to establish motivation and emotional depth, and create linguistic music, among other things. Writing in the class will focus primarily on the generation and revision of the students’ own poems. Students will participate in evaluating their own work and the work of their peers. The goal of this course is to deepen and expand the students’ poetry writing skills and knowledge developed in previous creative writing workshops. Each student will produce an end-of-term portfolio of revised poems.

Credits 3

Wednesdays 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 3:00 – 5:50 pm

Prof. Brian Blanchfield

Creative Writing 511 is a writing intensive course designed to facilitate the development of new poetry through the vital encouragement of faculty and peers in a workshop setting. Students in this course should already exhibit an advanced understanding of craft in at least one of the following areas: fiction, poetry, memoir, personal essay, or dramatic writing, as well as have experienced the writing workshop environment. We will also explore other aspects of the writing life and consider our goals and our roles in the greater literary and artistic community.

Prereq., consent of instr. 

Level: Graduate

Credits 3

Mondays 6:00 – 8:50 pm

Prof. Chris Dombrowski

A creative writing workshop focused primarily on personal essay and narrative nonfiction. Attention given to writing and publishing professional magazine essays. Students complete two substantial essays.

Prereq., consent of instr. 

Level: Graduate

Credits 3

Tuesdays 6:00 – 8:50 pm

Prof. Sean Hill

This multi-genre course will focus on research methods used by creative writers. To quote Philip Gerard “It is based on our fascination with mystery, in the broadest possible sense: that which is hidden from us, the answer we crave to know in order to make sense out of our world.” We will read the creative work of published poets and writers that has resulted from such research. The class will take advantage of local research resources such as the Mansfield Library Archives and the Missoula Art Museum, in order to give students the opportunity to practice these research skills in their own creative work. Class discussions will focus on research methods, writing craft, student work, and touch on topics such as docupoetics. By the end of the semester, each student will have completed a portfolio of creative work engaged with research.

Prereq., consent of instr. 

Level: Graduate

Credits 3

Mondays 3:00 - 5:50

Staff

Restricted to students in the Creative writing MFA program. Experimental offerings of visiting professors, experimental offerings of new courses, or one-time offerings of current topics.

Level: Graduate

Credits 3

Tuesdays / Thursdays 11:00 – 12:20 

Prof. Erin Costello Wecker

This course explores the concept of “Irishness” through generative works of music by artists such as Seán Ó Riada, The Wolf Tones, The Pogues, Sinéad O’Connor, Rory Gallagher, Thin Lizzy, The Chieftains, The Dubliners, U2, The Cranberries, Méav Ní Mhaolchatha, Soulé, Enya, Dolores, and Gearóidín Bhreathnach (not an exhaustive list). To do this the class will begin with an examination of 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.

Gen Ed Attributes: Writng Across Curriculum

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

Restricted to students in the Teacher Education Program. Emphasis on teaching writing in grades 5-12. Research about development and maturity of writers, overview of schools of writing/history of writing instruction, strategies for teaching writing as a process, elements of writing craft, criteria for assessing and responding to writing, peer-coaching methods, writing/reading workshops, the role of grammar in improving writing, writing/reading connections, assignment characteristics, and grading practices. Required of students pursuing secondary English major and minor teaching licenses.

Level: Undergraduate-Graduate