[Before 1800] Readings in the comedies, histories, and tragedies, with attention to their poetic language, dramatic structure, and power in performance. Texts and topics will vary by instructor.
Limited to 50 students. Fall semester. Professor Bosman.
How to handle overenrollment: Priority will be given to majors, interested upperclassmen, and to students who are considering a major in English.
A first course in writing fiction. Emphasis will be on experimentation as well as on developing skill and craft. Workshop (discussion) format.
Admission with consent of the instructor. Limited to 15 students. Fall and Spring semester. Section 01: Professor Frank. Section 02: Professor Myint.
How to handle overenrollment: The instructor will seek to achieve representative equity (majors, class years, gender, background, etc.).
A first course in writing fiction. Emphasis will be on experimentation as well as on developing skill and craft. Workshop (discussion) format.
Admission with consent of the instructor. Limited to 15 students. Fall and Spring semester. Section 01: Professor Frank. Section 02: Professor Myint.
How to handle overenrollment: The instructor will seek to achieve representative equity (majors, class years, gender, background, etc.).
Poetry is an act of discovery. We write to discover what we don't know or understand about ourselves and the world around us. To make these discoveries we must pay attention: practice close observation, question our assumptions, and test our truths.We must also pay attention to what’s happening in our bodies as we write: the breath, pulse and heartbeat that gives poetry life. When we practice embodied writing we include our whole selves in our creative work.In many ways, poetry is a kind of research, and not so different than other fields.
This creative writing course explores hybrid and cross-genre literature as an alternative to the categories of fiction, nonfiction, and poetry. What happens when we write creatively in a form that falls between genres? How do we categorize our writing, and how does our writing exceed categorization? Through reading and workshops that will encourage exploration, experimentation, and vulnerability, we will develop our own personal approaches to hybridity.
In this course, we will consider how fiction writers represent friendships between women, and what these representations have to say about “friendship” and “women” as meaningful categories of relationality, experience, and identity. We will pay careful attention to the ways writers construct narratives—to the choices they make on the sentence level, and on the level of plot and structure—and to the ways we respond to and interact with texts as readers.
(Offered as ENGL 180 and FAMS 110) A first course in reading films and writing about them. A varied selection of films for study and criticism, partly to illustrate the main elements of film language and partly to pose challenging texts for reading and writing. Frequent short papers. Two class meetings and one screening per week.
Limited to 25 students. Twelve seats reserved for first-year students. Open to first-year and sophomore students. Fall semester. Professor Hastie.
How to handle overenrollment: Preference will be given to first-year students.
In this course, students will be introduced to the basic principles of writing for the stage: voice, craft, and process. Students will gain an understanding of such foundational aspects as conflict, character objectives, obstacles, and stakes. In parallel to learning the elements of playwriting, students will read plays from varying periods, cultures, and narratives. Along with writing short scenes and short plays, students will learn the basics of dramaturgical analysis and complete in-class writing prompts to deepen their understanding of the form.
With a focus on the skills of close reading and analytical writing, we will look at the ways in which writers imagine illness, how they try to make meaning out of illness, and how they use illness to explore other aspects of experience. This is not a course on the history of illness or the social construction of disease. We will discuss not only what writers say about illness but also how they say it: with what language and in what form they speak the experience of bodily and mental suffering.
A double course, to be taken with permission of thesis advisor.
How to handle overenrollment: null
Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: Independent scholarly work; assessment based on completion of substantial thesis project.
