This course introduces students to some of the most significant literature from the Romantic, Victorian, and Modern literary periods. Beginning with the outbreak of the French Revolution and ending with World War I, the years covered by this course represent a time of dramatic political, economic, and cultural change. The nineteenth century witnessed the rise of industrialism, rapid imperialist expansion, religious crisis, increasing democracy, and shifts in gender and class identity. In exploring this tumultuous time period, the course will focus on an array of novelists, poets, and essayists who will serve as touchstones for the key political, intellectual, and aesthetic problems of their times (e.g., Blake, Wordsworth, Coleridge, Keats, Dickens, G. Eliot, Browning, J. S. Mill, Arnold, Ruskin, Yeats, and Woolf). Students will not only gain a greater appreciation for individual authors, but they will also be able to situate them within a larger framework of ideas and historical currents. Applicable English Clusters: Modern and Contemporary Literature [H1ENG008], Great Books, Great Authors [H1ENG010]
Survey of American literature in English from its origins in colonial British America to the late nineteenth-century U.S. We begin with the fascinating diversity of colonial writing (explorers' accounts, sermons, captivity narratives, religious poetry) and end with the first canonical works of "classic American literature" (prose narratives, novels, lyrics) in the second half of the nineteenth century. Alongside this process of literary development, British America is gradually becoming unified around a new national identity—yet, at the same time, constantly threatening to fracture under internal and external pressures. Our focus will be on the literary side of the story, but we'll remain mindful of its relationships to that larger history. Authors will likely include John Winthrop, Mary Rowlandson, Benjamin Franklin, Thomas Paine, Phillis Wheatley, James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville, Harriet Beecher Stowe, Frederick Douglass, Harriet Jacobs, Emily Dickinson, Walt Whitman. Applicable English Clusters: Literature and Cultural Identity [H1ENG001], American and African American Studies [H1ENG006]
This course introduces students to the theory and practice of media studies. We will look at a range of both media and historical tendencies related to the media, including manuscript culture, print, and the rise of the newspaper, novel, and modern nation-state; photography, film, television and their respective differences as visual mediums; important shifts in attitudes towards painting; the place of sound in the media of modernity; and the computerization of culture brought about by the computer, social networks, video games, and cell phones. In looking at these, we will consider both the approaches that key scholars in the field of media studies use, and the concepts that are central to the field itself (media/medium; medium-specificity; remediation; the culture industry; reification and utopia; cultural politics). By the end of the class, students will have developed a toolkit for understanding, analyzing, and even using the media that shape their lives in late modernity. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
Our goal in this introductory workshop is to strengthen writing skills and expand our sense of the possibilities of imaginative fiction. As you write and hone your own original fiction, we will examine the components of narrative in stories by diverse modern and contemporary writers. In particular, we'll be studying the strategic use of point of view and the ways individual voices are defined through monologue, dialogue, summary, and scene.
Credit 2 hours. A course devoted to the understanding and execution of dramatic writing that is unique to the theater. Applicable English Clusters: Plays, Playwrights, and Theater [H1ENG011], Creative Writing [H1ENG015], Theater Production and Performance [H1ENG018]
"Speculative Fiction" used to be the term given to what we call "science fiction" because it speculated about the future. I use it here to mean any fiction that takes for its subject something fantastic. So this is a writing course that encourages students to write sf, fantasy, dark fantasy, magic realism, experimental fiction, or anything macabre and grotesquely beautiful. It is open by permission only. Please send a sample of your work to Sarah Higley at email@example.com before registration and I will give you my permission code if I like your work. Caveat: you will be critiquing other work as part of your grade. Nothing but the sincerest commitment for coming to every class will be tolerated. Applicable English Cluster: Creative Writing [H1ENG015]
The study and practice of longer, more complicated newspaper and magazine stories, such as investigations and profiles. Emphasis will be on the consideration of the various techniques of non-fiction writing. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
Basic public speaking is the focus of this course. Emphasis is placed on researching speeches, using appropriate language and delivery, and listening critically to oral presentations. ENG 134 contains two quizzes, a final exam, and four speeches to be given by the student. The speeches include a tribute, persuasive, explanatory, and problem-solving address. The course utilizes instructor Curt Smith's experience as a former White House presidential speechwriter. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
The purpose of this course is to give students an appreciation for and knowledge of critical thinking and reasoned decision-making through argumentation. Students will research both sides of a topic, write argument briefs, and participate in formal and informal debates. Students will also be exposed to the major paradigms used in judging debates. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
The study and analysis of a few high-impact news stories. Through readings and interviews with the reporters and editors who worked on the story, as well as interviews with the subjects of the stories, the class will gain an understanding of the issues involved in covering major news events.
This course introduces the basic aesthetic and technical elements of video production. Emphasis is on the creative use and understanding of the video medium while learning to use the video camera, video editing processes, and the fundamental procedures of planning video projects. Video techniques will be studied through screenings, group discussions, readings, practice sessions, and presentations of original video projects made during the course.
Introductory course to the theories, methods, and practice of set construction, power tools, rigging, stage lighting, drafting, sound, and scene painting. Lab participation in theater program productions required. Applicable English Cluster: Theater Production and Performance [H1ENG018]
The course undertakes to introduce students to the various elements of theater design. Lighting techniques, sound design, and set design are all covered from time to time.
Training in the techniques by which individual actors set forth the characters recorded in dramatic texts. Applicable English Cluster: Theater Production and Performance [H1ENG018]
Introductory directing techniques for aspiring directors. Exploring the nature of the theatrical events, investigate the nature of conceptualization, visualization, text analysis, action, and design as they pertain to the director's craft. In conjunction with a weekly scheduled lab. Applicable English Cluster: Theater Production and Performance [H1ENG018]
After Chaucer died in 1400, he was imitated because of his immense popularity. After modern pronunciation settled in for good in the eighteenth century, he was considered funny, but a poor rhymester. After it was decided that even educated women were to be told nothing about sex, Chaucer was censored. In the twentieth century his longest work was banned. So what is it about The Canterbury Tales? What preconceptions and biases do we bring to the study of Chaucer's most ambitious text? What issues (about reading, about knowledge, about ethics, religion, class, gender, culture, language, political injustice, rioting among the lower classes and the Black Death) overlap with relevant issues today? Is there a way in which we can create a "reading" of Chaucer that makes him speak to us as brightly and as familiarly as he spoke to his own times? Applicable English Cluster: Medieval Studies [H1ENG007]
The course approaches The Divine Comedy both as a poetic masterpiece and as an encyclopedia of medieval culture. Through a close textual analysis of selected cantos from Inferno, Purgatorio, and Paradiso, students learn how to approach poetry as a vehicle for thought, an instrument of self-discovery, and a way to understand and affect the world. They also gain a perspective on the biblical, Christian, and classical traditions as they intersect with the multiple levels of Dante's concern ranging from literature to history, from politics to government, from philosophy to theology. Class format includes lectures and discussion. Intensive class participation is encouraged. No prerequisites.
This course focuses on drama written by Shakespeare's contemporaries. Classes center around careful analysis of individual plays. We will discuss the plays' tragic and comic inflections, depictions of psychological interiority, staging of death, use of props, fascination with sensational and often violent events, and insistent references to contemporary performance practices. We also become familiar with a range of sixteenth- and early seventeenth-century theatrical spaces—their geographical location and physical properties, the composition of their audiences, the training and performance practices of their actors, and the aesthetic, economic, and political contexts of their productions. Applicable English Cluster: Plays, Playwrights, and Theater [H1ENG011]
The course focuses on the writings of John Milton. Our work will center on Milton's epic poem of the creation and fall of man, Paradise Lost, along with shorter works of lyric and dramatic poetry. Readings also will include selections from Milton's prose writings, in particular those that address questions about censorship, the church, marriage, and monarchy. We'll be thinking about Milton's poetic inventiveness; his ways of re-appropriating utopian writing; his complex pictures of heaven and hell, God and Devil; and his seductive depictions of both pre- and post-lapsarian worlds. During the semester we also will be considering Milton's changing relation to the political and religious crises of his time, especially the English Revolution of 1642-1660. In order to get an idea of Milton's contribution to seventeenth-century literature and culture, we will be reading short selections from the poetry and prose of several of his contemporaries. This course fulfills the pre-1800 requirement for English majors. Applicable English Clusters: Great Books, Great Authors [H1ENG010], Poems, Poetry, and Poetics [H1ENG012]
In the eighteenth century the Novel was a new genre, its conventions far from stabilized. As authors experimented with new modes of portraying consciousness and the external world, and explored new ideas about plot, character, and narrative voice, they questioned what the novel could do: how does the novel, as opposed to other genres, approach the relationship between reality and representation? Does it imply a new kind of reading experience? a new kind of reader? Does it owe its existence to certain historical, social, or cultural circumstances? Authors include Aphra Behn, Daniel Defoe, Samuel Richardson, Henry Fielding, Laurence Sterne, and Jane Austen. This course fulfills the pre-1800 requirement for English majors. Applicable English Cluster: Novels [H1ENG009]
"Romanticism" (1780-1830) names both the thrills of literature in extremis and a new interest in ordinary people. In an era of radical change, writers of astounding talent probed the extremes of imagination and sought new ways of expressing pleasure and pain, fear and grief, perversion and depravation. Their drive to pursue experience to its limits brought them to the dangerous edge where dreams meet reality in "visions." In other cases they experimented with new ways of capturing everyday life with unprecedented depth and intensity. We shall sample the scope of British romantic writing, such as Blake's apocalyptic fusions of text and designs, Wordsworth's groundbreaking autobiography The Prelude, Coleridge's aborted opium dream "Kubla Khan," Mary Shelley's philosophical gothic novel Frankenstein, and Byron's outrageous comic-erotic satire Don Juan. Our strategy will be governed by four fundamental concepts: sound, sight, metaphor, narrative. Applicable English Cluster: Poems, Poetry, and Poetics [H1ENG012]
As literary and visual art, plays provide some of the most potent content in all of the arts, to which readers have nearly unmediated access. This course explores the history of playwriting and dramatic performance as creative outlets for artists of African descent. The course surveys the tradition of African-American theater, paying particular attention to the formal aspects of drama and covering a range of historical and thematic contexts, including slavery, social protest, inter-racial relations, intra-racial differences (of class, gender, and sexuality), and contemporary attitudes toward African-American history. Featured playwrights include James Baldwin, Amiri Baraka, Lorraine Hansberry, Langston Hughes, Zora Neale Hurston, Suzan-Lori Parks, Ntozake Shange, Anna Deavere Smith, August Wilson, George C. Wolfe, and others. Students will be evaluated on class participation, weekly reading responses, and two formal papers. Applicable English Clusters: Literature and Cultural Identity [H1ENG001], American and African American Studies [H1ENG006]
We trace the remarkable developments of the novel form in the U.S, from the decade after the Revolution (when Americans first begin to write long prose fictions), through the early nineteenth century (as the novel becomes obsessed with the topics of race and violence that threaten to destroy the young nation), to the decade before the Civil War (when the American novel claimed its ascent to literary Art). All along the way, we will be reading "novels," yes, but it will quickly become apparent how varied a form this noun actually names; we'll read a broad range of the novel's different modes (the epistolary novel, the novel of seduction, the gothic, the historical novel, sentimental-domestic fiction, the Romance). Readings will include works by: Hannah Webster Foster (The Coquette), Charles Brockden Brown (Edgar Huntly), James Fenimore Cooper (The Last of the Mohicans), Harriet Beecher Stowe (Uncle Tom's Cabin), Martin Delany (Blake), Nathaniel Hawthorne (The Scarlet Letter), and Herman Melville (Moby-Dick). Applicable English Clusters: Literature and Cultural Identity [H1ENG001], American and African American Studies [H1ENG006]
The first half of the twentieth century witnessed a rejuvenation of poetic language so startling and so lasting that we still, a hundred years later, refer to those poets as the Moderns. This course will concentrate on the most provocative of those poets (Eliot, Frost, H.D., Moore, Pound, Stevens, Williams), reading their often wildly experimental work within the context of the literary and cultural history of the period. Applicable English Clusters: Poems, Poetry, and Poetics [H1ENG012], Creative Writing [H1ENG015]
With its unprecedented death toll and new technologies of destruction, World War I shattered illusions and exploded the fabric of society as people then knew it. Despite subsequent world conflicts and traumatic occurrences, the Great War has remained for the British a haunting presence, becoming, in poet Ted Hughes's words, the "number one national ghost." As we approach the war's 100th anniversary, we will trace the history of this national obsession in the searing poetry of the trenches, the combatant's memoirs that exposed the war's horror and futility, and the modernist fiction that registered the war's impact in new ways of seeing. We will also explore returns to the war in late twentieth/early twenty-first-century film, theater, television, and popular fiction. For as War Horse and Downton Abbey have dramatically demonstrated, the memory of the war continues to fascinate, sustaining old myths and feeding new ones. This course will attempt to explain why the Great War has had such a remarkable hold on the modern imagination. Applicable English Cluster: Modern and Contemporary Literature [H1ENG008]
The course aims to study the Decameron as a book of love that draws its inspiration from Dante's story of Paolo and Francesca in the Fifth Canto of Inferno; as a secular text that defies major conventions of medieval writing; as a social commentary on institutions, social classes, and power structures; as a reflection on the interplay between aesthetics and other medieval cultural codes and traditions such as medicine, law, patristics, economics, ethics, and courtly love. Illustrations, visual interpretations, and potential for theatrical adaptations of the text are included in the discussion.
Blending clear-eyed social commentary with a faith in romantic love, festooning mordant satire with enchantedly happy endings, Jane Austen's novels subsist on contradiction and enjoy more popularity than ever. This course will place Austen in the context of her times while also analyzing her continued appeal. Readings include Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion, as well as novels by such authors as Frances Burney, Maria Edgeworth, Anne Radcliffe, and the Brontes. This course fulfills the pre-1800 requirement for English majors.
This course examines some of the major novels by Charles Dickens. The course will immerse students in Dickens's writings, situating his novels in their biographical, aesthetic, and historical contexts. We will discuss Dickens's influence on other writers and thinkers during the nineteenth century, not only through the literary relationships he formed, but also through his work as an editor. In studying a broad array of Dickens's works, we will explore why Dickens remains so popular with readers and continues to capture our imagination.
An isolated country parsonage. A half mad father. A profligate brother addicted to drugs. Three uniquely gifted sisters who burned their hearts and brains out on the moors, but not before leaving us some of the most passionate and revolutionary literature of the nineteenth century. This is the stuff of the Brontë legend. This course will explore the continuing appeal of the Brontës and the peculiar fascination that they have exercised on the literary imagination. Looking intensively at some of the best-loved novels of all time, we will explore the roots and reaches of the Brontë myth. We will also consider the Brontës' legacy in some of the many adaptations (and continuations) of their work in print and on the screen. And we will look at our seemingly insatiable appetite for new tellings of the Brontës' life stories. The course, then, will consider not only the Brontës' literary productions, but also our culture's production and reproduction of "the Brontës" over the years. Applicable English Clusters: Novels [H1ENG009], Great Books, Great Authors [H1ENG010]
Many readers, from Virgil's time to our own, have found Dido, the African Queen, the most compelling, memorable, and sympathetic character in the Aeneid, Europe's greatest epic. We will consider her many-sided appeal: regality and queenship, sexual allure and experience, madness and suicide, racial and exotic otherness. Beyond literature, we will take a radically multi-media approach, including opera (including performances by African-American divas), ballet, modern dance, experimental and political theater, satires (including the seventeenth-century "Dido and Dildo"), high art portrayals, and video games. We will cover Dido over two millennia, reading Homer, Euripides, Virgil, Ovid, Augustine, Chaucer, Shakespeare, Purcell, Berlioz, medieval romances set in Africa, and some recent novels; we will look at medieval lyrics, contemporary writing from North Africa addressing race and geopolitics, sentimental through soft porn images from manuscripts through masterworks to the internet, cartoons, and animés.
This course explores ways in which myth functions to create psychological and social identities within cultural frameworks. We will explore tales, graphics, musicals, opera, poetry, and cinema. The texts concentrate primarily on a constellation of Cinderella and Beauty and the Beast adaptations, along with Little Red Riding Hood, Sleeping Beauty, Frog Prince, Hansel and Gretel, and some of the Jack stories. Our concern will focus on action/adventure plots, paradigms of exile and return, the ideologies underlying the dynamics of oppression, pain fetishes, aspiration, and recovery. We will examine didactic issues of childhood, adolescence, midolescence, and the aged, as people use myth to address the requirements of life. We will be particularly interested in the implications of historical perspectives as societies revise and perpetually revitalize their visions of themselves through the rewriting of their own mythologies.
This 4-credit intersession course will be conducted in London and Stratford-upon-Avon, UK, from Saturday, December 29, 2012, through Saturday, January 12, 2013. We will have a full range of theater experiences in venues as diverse as theater-in-the-round at the Orange Tree to the multiple stages of the National Theatre, from intimate fringe productions and experimental theater to the extravaganzas of West End. See the Theater in England website for descriptions of the program and syllabuses from the past 20 years. This year we will see the best of what is available (twenty or so plays). We will have seminar discussions of the productions which you will then write about in your journals. The fee for the course is $2,750, which includes tuition, tickets to all plays you see, 15 nights housing at the Harlingford Hotel, and transportation to Stratford-upon-Avon and return. The fee does not include transportation to London and back from the U.S. Instructor's permission required to register. Applicable English Clusters: Plays, Playwrights, and Theater [H1ENG011], Theater Production and Performance [H1ENG018]
This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required.
We will screen and study approximately 12 gangster and crime films from the rich genre of such movies. We will also read some related fiction and some critical studies of the form. We will look at films spanning the history of cinema from Little Caesar to The Godfather, examining the devices of the form, those elements that seem to define it, the relation of the subject to the culture, the meaning of the film, and so forth. The course will include lectures and discussion. Applicable English Clusters: Modern and Contemporary Literature [H1ENG008], Media, Culture, and Communication [H1ENG016]
This course provides a detailed examination of the French filmmakers of the New Wave, from 1959 to 1967. We will examine the work of Jean-Pierre Melville, Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Eric Rohmer, Agnes Varda, and Jacques Rivette. We will also explore the films' historical context and influence through some attention to their predecessors and successors. Knowledge of French helpful, but not necessary.
Understanding social psychology of modern and contemporary Western/American family experience, and especially its means of abetting the concealment, repression, and suppression of people's emotional lives. Study of the films combines with the readings to seek to develop critical understanding of the nuclear family and the conditions it may create for child-rape, racism, homophobia, murder, and self-destructive behavior such as substance abuse, self-mutilation, and suicide. Sometimes the violence is arbitrary, sometimes inevitable, sometimes incomprehensible. In each case the course's attention is on the personal and collective machineries of repression, resulting rage in many individuals, and frequent (now often familiar) violent results. Readings include: Nancy Chodorow, Alice Miller, Kristin Kelly, and Stephanie Coontz. Films are taken from: A Price Above Rubies, A Thousand Acres, All My Sons, American Beauty, American History X, Bastard out of Carolina, Crimes and Misdemeanors, Dolores Claiborne, and others. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
This course combines a survey of major historical movements and styles in documentary film with an examination of more recent trends and challenges to the tradition. So, in addition to studying the expository political documentary, ethnographic film, and the direct cinema and cinéma vérité movements, we will explore forms including mock documentary, autobiographical film and video, and animated documentary. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
This course examines the ways in which contemporary media shape understandings, perceptions, and imagination of the environment. This class will explore the role of media as communication technologies, in connecting information in one locale to consumers in another, and investigate how media also exceeds this linking role. While communicating environmental problems, data, or analyses, media technologies also create new spatial relationships, generating new ways of moving through and inhabiting places. Media rearrange environmental connections, bringing distant locales into the privacy of one's home or allowing users of mobile computing technologies to carry "places" around in their pockets, enabling unprecedented connectivity and new experiences of remoteness and alienation, hyper-memory and profound amnesia. Emphasis will be placed on reading critical texts and putting them in dialogue with contemporary new media artifacts made by creative practitioners.
This course investigates technical theater beyond the realms of ENG 170/171 (Technical Theater). It focuses on work related to the scenic design and technical production of the semester's Theater Program productions. Working in small seminars and one-on-one tutorials, the instructor will assist students in learning more in the chosen technical areas and about problem-solving scenic and technical questions raised by the set/s being built. Course work will consist of supervisory responsibilities, one major, and several smaller research projects. Applicable English Cluster: Theater Production and Performance [H1ENG018]
Movement Masterclass for the Actor is designed to help students become competent physical "movers" and to utilize their bodies as effective communications tools—especially in terms of the theatrical demands of characterization. The class will give performers a wide variety of choices in movement that can be applied to many performance styles. Students will learn a hybrid of movement traditions and approaches, and how to connect those to the artistic process. They will be encouraged to improvise, create, and develop in a way that makes the physical technique relevant to their unique creative voice. The class is focused on learning by doing rather than lecturing and provides varying levels of physical challenge that allow students to develop at their own pace and from their own starting point.
An introduction to the three-act film structure. Students will read and view numerous screenplays and films, and develop their own film treatment into a full-length script. Applicable English Cluster: Creative Writing [H1ENG015]
Students will build their knowledge of debate theory and practice through varsity-level intercollegiate competition and research. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
What makes David Sedaris funny? How about the likes of Tina Fey, Mark Twain, Stephen Colbert, Jonathan Swift, Nora Ephron, Lord Byron, Wanda Sykes, Dave Barry, Dave Chappelle, and The Onion? In this course we'll seek inspiration from some of the funniest people alive (and dead) while writing our own humor pieces. Students will have a chance to explore a variety of genres, from essays to memoirs to song parodies—and to share work by their own favorite humorists with the class.
Presidential Rhetoric, taught by former presidential speechwriter Curt Smith, helps students critically examine the public rhetoric and themes of the modern American presidency. Particular attention will be given to the symbolic nature of the office, focusing on the ability of twentieth-century presidents to communicate via a variety of forums, including the press conference, inaugural and acceptance speeches, political speech, and prime-time television address. Smith will draw on many of his experiences in Washington and with ESPN/ABC Television to link the most powerful office in the world and today's dominant medium. Applicable English Cluster: Media, Culture, and Communication [H1ENG016]
The focus of World Literature in Translation is to examine what makes a translation "successful" as a translation. By reading a series of recently translated works (some contemporary, some retranslations of modern classics), and by talking with translators, we will have the opportunity to discuss both specific and general issues that come up while translating a given text. Young translators will be exposed to a lot of practical advice throughout this class, helping to refine their approach to their own translations, and will expand their understanding of various practices and possibilities for the art and craft of literary translation.
Set building, prop and costume development, and publicity for current production. Applicable English Clusters: Plays, Playwrights, and Theater [H1ENG011], Theater Production and Performance [H1ENG018]
For actors and stage managers working on the current production. Applicable English Clusters: Plays, Playwrights, and Theater [H1ENG011], Theater Production and Performance [H1ENG018]
For actors and stage managers working on the current production. Applicable English Clusters: Plays, Playwrights, and Theater [H1ENG011], Theater Production and Performance [H1ENG018]
Students in Stage Management I and/or II (fall/spring) will get an in-depth introduction to and immersion in stage managing a theatrical production. In addition to classwork covering all areas of management skills, safety procedures, technical knowledge, and paperwork, students will be expected to serve as an assistant stage manager or production stage manager on one (or both) Theater Program productions in their registered semester. Applicable English Cluster: Theater Production and Performance [H1ENG018]
Mandatory acting lab for students in ENG 295.
This is an independently designed course, focusing on specific theater or theater-related projects, and demanding significant skill application or acquisition, independent and self-motivated research, including advanced written work, if appropriate. Topics may include elements of theater related to production, management, and/or design. Applicable English Cluster: Theater Production and Performance [H1ENG018]
This is a workshop for students who have completed ENG 121 or have some experience writing fiction on their own and are ready to concentrate on more ambitious projects. We'll read short stories by contemporary writers along with fiction by the students in the workshop, and we'll discuss ways writers can sharpen the conversation between text and reader. We'll also consider editing and reviewing techniques. Students will be expected to write and revise three original stories. Applicable English Clusters: Novels [H1ENG009], Creative Writing [H1ENG015]
An advanced creative writing workshop in poetry. Students' poems will be discussed weekly. Creative writing assignments will be combined with brief essay responses to a selection of contemporary poetry books. A special emphasis on translation will also be included. Applicable English Cluster: Creative Writing [H1ENG015]
The seminar considers the extent to which people assimilate the language of literature into ordinary usage. As we read, language, fantasy, and thought in literature combine in a social and political gesture. For most literature, we remember stories and characters, but rarely words. Literary language acts on us mostly without our awareness. With attention to a variety of genres of fiction, poetry, drama, and popular song lyrics, the seminar estimates the social and political speech action of literary language. Seminar members are invited to re-use the language of the works on the reading list by placing this language in new contexts and then comparing the new usages with those experienced in reading. Works on the reading list, which raise issues of language action, suggest how such actions appear in any literature. Authors studied include Dickinson, Kafka, Lawrence, Morrison, Olds, Orwell, Pinter, and Shakespeare. Obscene language is considered as a model of how literary language is politically active.
We will read and discuss a generous sampling of some of the major authors and books of detective fiction, concentrating on the twentieth century. The syllabus will demonstrate the history and development of the form in both England and America. We will also read some of the significant secondary material. The authors may include Arthur Conan Doyle, Agatha Christie, John Dickson Carr, Dashiell Hammett, Raymond Chandler, Ross Macdonald, and others.
This course will introduce students to the application of archival research to literary study, with a special focus on twentieth-century African-American writer John A. Williams. We will read and discuss a selection of Williams's fiction, non-fiction, and poetry; for each text, we will visit Rush Rhees Library's Department of Rare Books, Special Collections and Preservation, where the Williams archive is located. We will also discuss a selection of works of literary theory and criticism that addresses the significance of an author's life to the analysis of that author's work. Primary texts include Night Song, The Man Who Cried I Am, Captain Blackman, Sons of Darkness/Sons of Light, Sissie, Clifford's Blues, Safari West, and more. Course requirements include class participation, four one-page response essays, an in-class presentation on a selected item from the Williams archive, and a research paper to be evaluated at various stages of the composition process (proposal, outline, draft, revision).
A number of internships are available through the UR International Theatre Program. One of the most popular is our semester-long PR Internship. Theater PR interns help create all publicity materials for events in Todd Theatre or events sponsored by the Theater Program, including drafting press releases, planning marketing campaigns, etc. They distribute publicity materials both on and off campus. Finally, PR interns staff the box office during productions, interacting with the public and the theater personnel. The PR internship is an excellent way to get a hands-on introduction to all the basic elements of public relations and marketing. You'll also interact with artists, directors, journalists and public-relations professionals as part of the internship. Interns should have good writing skills and be willing to work creatively. Skills in graphic design are a plus. To apply to be a PR intern (or to find out about other internship opportunities), email Nigel, or stop by the Theater Program offices (Todd 107).
Special application required and/or instructor's permission required.