Topics course. Same as AMS 351. A writing sample and permission of the instructor are required. Enrollment limited to 12: This is a workshop class where students will learn the art of journalism and compose stories that take on questions of gender, feminism, sexuality and power, while simultaneously exploring how the media represents gender and learning the history of women in journalism. No profession has been as important to feminists in challenging oppression than journalism--even as journalism has been historically resistant to a feminist vision.

Thiscourse will help more advanced fiction writers improve their skills in a supportive workshop context, which encourages experimentation and attention to craft.We focus on technique, close reading, and the production of new work. Studentssubmit manuscripts for discussion, receive feedback from peers, and revise their work. They keep a process journal and practice mindfulness to cultivate powers of focus and observation. We readReading Like a Writer by Francine Prose, and short fiction by authors in different genres.A writing sample and permission of the instructor are required.

A writer’s workshop designed to explore the complexities and delights of creative nonfiction. Constant reading, writing and critiquing. Writing sample andpermission of the instructor are required. Enrollment limited to 12: This is a journalistic writing course using photography as a guide and tool. Students will take some photographs and do a lot of writing: blog posts, profiles, and full-length magazine-style reported articles. As we grapple with such literary issues as structure, metaphor, tone, voice, and pacing, we will let photography interrogate our writing.

A study of England's first cosmopolitan poet whose Canterbury Tales offer a chorus of medieval literary voices, while creating a new kind of poetry anticipating modern attitudes and anxieties through colorful, complex characters like the Wife of Bath.Weread these tales closely in Chaucer's Middle English, an expressive idiom, ranging from the funny, sly and ribald to the thoughtful and profound. John Dryden called Chaucer the "father of English poesy," but if so, he was a good one.

Same as ENG 202. Texts include The Iliad; tragedies by Aeschylus, Sophocles and Euripides; Plato’s Symposium; Virgil’s Aeneid; Dante’s Divine Comedy.

Same as CLT 202. Texts include The Iliad; tragedies by Aeschylus, Sophocles and Euripides; Plato’s Symposium; Virgil’s Aeneid; Dante’s Divine Comedy.

A study of the English literary tradition from the Middle Ages through the 18th century. Recommended for sophomores. Enrollment limited to 20.

This coursefamiliarizes students with key aspects of structure and form in poetry, fiction, and creative nonfiction. We focus in turn on such elements of creative writing as imagery, diction, figurative language, character, setting, and plot. Students draft, workshop, and revise three pieces of writing over the course of the semester, one each in the genres of poetry, fiction, and creative nonfiction. Enrollment limited to 12. (E)

This coursefamiliarizes students with key aspects of structure and form in poetry, fiction, and creative nonfiction. We focus in turn on such elements of creative writing as imagery, diction, figurative language, character, setting, and plot. Students draft, workshop, and revise three pieces of writing over the course of the semester, one each in the genres of poetry, fiction, and creative nonfiction. Enrollment limited to 12. (E)

This course offers the opportunity to read contemporary poetry and meet the poets who write it. The course consists of class meetings alternating with public poetry readings by visiting poets. On five selected Tuesdays, the course also includes Tuesday Q&As with the poets, which meet from 4–5 p.m. Students with class, lab or required work conflicts are excused from Q&As. Graded Satisfactory/Unsatisfactory only. Course may be repeated.