| Description: | Who are you? This simple question becomes ever more complicated the more closely you examine it. How should you define yourself? By ancestry, hometown, gender, cultural allegiance, ethnic background, nationality, sexual preference, social class, personal history, fashion sense, career aspirations, taste in music, or by some other category? This class will examine the complexities of identity as they have been expressed in a wide variety of modern literary (and some philosophical) writings, in order to develop the advanced reading, writing, and research skills that students need in a university setting. In investigating how people have come to narrate who they are, we will learn about the rhetorical strategies through which their stories are advanced, disputed, and, ideally, accepted. In our examination of identity, we will focus on mastering the crucial aspects of academic writing - evidence, analysis, argument, and research - and how these aspects can help you articulate who you are and where you're coming from. THIS COURSE WILL SATISFY THE WRITING 1 REQUIREMENT. |
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| | C | -T-R--- | 12:00P-1:00P | Eads / 209 | Bassett | No final | 12 | 12 | 0 | | |
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| Description: | In our modern world, we are bombarded by images on a daily basis-graffiti artists "tag" our brick buildings; billboards line our highways; models stare back at us from the pages of glossy magazines; photos and video of injustice and violence, peaceful protest and civil disobedience, confront us on social media; vapid images flash endlessly on our television and computer screens. But what is our role within this visual culture? Are we passive spectators or active participants? How does our personal, social, or cultural situation shape what and how we see and experience the world? Throughout this course, students will explore these (and other) questions by drawing from a wide range of discourse communities and genres, including (but not limited to) art history, psychology, sociology, cultural studies, memoir, nonfiction, and creative writing. Readings and assignments are designed to enhance students' awareness of the relationship between writing and their observations and experiences of the visual world. Essay assignments will enable students to explore the visual world and their personal interest in related subjects (such as art, film, social media, and advertising). The course includes one personal essay, two expository essays, and one argumentative essay, as well as peer review workshops, oral presentation, and revision. Additionally, students will prepare for essay assignments by generating ideas and experimenting with form and style through a series of in-class writing exercises. This course does not count toward the Creative Writing Concentration. |
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| | 01 | -T-R--- | 11:30A-1:00P | Simon / 021 | Daniels | No final | 15 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | The study of rhetoric, one of the original seven Liberal Arts, is perhaps more relevant today, in a world where diverse opinions reverberate 24/7 from television and the internet, than in ancient times when rhetors invented arguments to help people choose the best course of action when they disagreed about important political, religious, or social issues. How do we make our voices heard? How can we invent and present compelling written discourse.
This course will introduce students to common rhetorical principles and to the disciplinary history of rhetoric and compositional studies. Assignments in this class include rhetorical exercise in invention and craft, imitations, and varied compositions, ranging from the personal to critical, from the biographical to argumentative. We will examine rhetorical principles (audience, context, kairos, exigency, ethos, pathos, logos, and so forth) that are employed, for example, not only in literary analysis but in law, politics, education, and science. We will aim for a mastery of craft and a refinement of thought. Pre-Req: Writing 1. This course does not count toward the Creative Writing Concentration. |
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| | 01 | -T-R--- | 10:00A-11:30A | Busch / 14 | E. Finneran | No final | 15 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 10:00A-11:30A | Sever / 300 | Marr | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | -T-R--- | 11:30A-1:00P | Seigle / 210 | Niekamp | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 03 | -T-R--- | 1:00P-2:30P | Eads / 205 | Linares | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 04 | M-W---- | 10:00A-11:30A | Eads / 209 | Sukop | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 05 | M-W---- | 11:30A-1:00P | Eads / 209 | Paar | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 06 | M-W---- | 8:30A-10:00A | Eads / 209 | Montesanti | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 10:00A-11:30A | Danforth Ctr / 233 | Rosen | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 11:30A-1:00P | Simon / 021 | Baird | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 04 | -T-R--- | 10:00A-11:30A | Eads / 212 | McCrory | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 05 | M-W---- | 2:30P-4:00P | Simon / 021 | Butler-Henderson | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 06 | M-W---- | 4:00P-5:30P | Sever / 300 | Moss | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 07 | -T-R--- | 11:30A-1:00P | Simon / 020 | Samaniego | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 11:30A-1:00P | Danforth Ctr / 233 | Hsu | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 1:00P-2:30P | Danforth Ctr / 233 | Wilson | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 03 | -T-R--- | 10:00A-11:30A | Simon / 022 | Criss | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 04 | -T-R--- | 11:30A-1:00P | Sever / 300 | Yarberry | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 05 | -T-R--- | 1:00P-2:30P | Sever / 300 | Tran | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | TBA | | TBA | Maxwell | See department | 0 | 6 | 0 | | |
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| Description: | This course will analyze and put into practice what makes good humor writing both good and humorous, from subject matter to the mechanics of setting up a punchline, from crafting an unexpected metaphor to perfecting the reversal. We will write and workshop humorous personal essays, commentary, and satire, using as models examples from humorists and humorous writers from the past decade, including writers like Luvvie Ajayi, Andy Borowitz, Tina Fey, Samantha Irby, Simon Rich, Mindy Kaling, and David Sedaris. This course counts toward the Creative Writing Concentration. |
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| | 01 | M-W---- | 11:30A-1:00P | Duncker / 109 | H. McPherson | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 1:00P-2:30P | Duncker / 109 | H. McPherson | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Personal writing and researched writing necessarily intersect; our unique observations and experiences impact our academic pursuits, even as formal education shapes our perspectives and range of interests. Nonetheless, in our writing practices, we often dichotomize these categories, imagining personal essays as subjective, creative, and idiosyncratic, while research papers are objective, conventional, and academic. This course will attempt to bridge this divide. Our class will begin with short written assignments, including personal and exploratory essays to concretize students' interests, and primary and secondary source analyses, literature reviews, and reports of research findings to broaden these interests' scopes. These shorter pieces will be peer reviewed, used to craft a paper proposal, and ultimately, revised into a long-form (5,000+ word) critical essay. Students need not have a particular project in mind before beginning. We will supplement our writing schedule with discussions of long essays in different genres throughout history, pairings of investigative journalism and scholarly articles in different fields. We will explore the various requirements, challenges, and opportunities long researched essays offer to writers and readers, as well as honing skills students will find useful across disciplines, including: exploring a subject deeply, as well as broadly; performing sustained critical analysis; drafting and repeatedly revising written work; conducting scholarly research in different fields; synthesizing research findings toward logical conclusions; and arguing for the implications and practical significance of observed phenomena. This course does not count toward the Creative Writing Concentration. |
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| | 01 | -T-R--- | 11:30A-1:00P | Duncker / 109 | Henderson | No final | 12 | 10 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | In the past three decades, medical doctors have been writing about their experiences in the modern American health care system in a remarkably forthright way: admitting their own weaknesses, praising and criticizing patient behaviors, exposing flaws in current systems of medical education and delivery of care. Patients have been writing not only about what it feels like to be ill, but also about the ways doctors have both helped and failed them. We will read a sample of these works by physicians, patients, and journalists, drawing from a list that includes Gawande, Sacks, Ofri, Chen, Selzer, Kalanithi, Groopman, Mukherjee, Sweet, Elliott, Jamison, Ehrenreich, Sontag, Hillenbrand, O'Rourke, Trillin, Mairs, Hemon, Specter, Tisdale, Keefe, and Khatchadourian. In this writing-centered class, we will focus on how, why, and how well physicians and patients make written arguments to the public. Writing assignments will allow students to work on the matter of how best to represent illness, and to improve their skills in analysis and argumentation. Peer review sessions will encourage substantive revision. This course does not count toward the Creative Writing Concentration. |
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| | 02 | -T-R--- | 10:00A-11:30A | Eads / 210 | Arch | No final | 15 | 19 | 0 | | |
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| Description: | For students interested in the environment and natural sciences. This course brings together essays from a wide range of communities including biology, physics, medicine, environmental studies, creative writing and more. Readings and assignments are intended to enhance students' understanding of the relationship between writing and their experience/knowledge of the natural world. Major assignments allow students to follow, explore, and write about their own unique interest in a related subject, and include a personal essay, an expository essay, and a researched argumentative essay, as well as peer review workshops, oral presentations, and revision. Students will record and explore their own experiences of nature in short creative assignments that prepare them for the major papers. Prerequisites: Writing 1 and junior standing. This course does not count toward the Creative Writing Concentration. |
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| | 01 | M-W---- | 8:30A-10:00A | Cupples II / L011 | Pippin | No final | 15 | 17 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 10:00A-11:30A | Cupples II / L011 | Pippin | No final | 15 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 03 | M-W---- | 11:30A-1:00P | Cupples II / L011 | Pippin | No final | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | --W---- | 3:00P-6:00P | Eads / 205 | Patterson | No final | 15 | 12 | 0 | | |
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| | 01 | M-W---- | 10:00A-11:30A | Sever / 300 | Henderson | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 11:30A-1:00P | Rudolph / 282 | Hamilton | No final | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 03 | M-W---- | 1:00P-2:30P | Rudolph / 282 | Hamilton | No final | 15 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 04 | -T-R--- | 8:30A-10:00A | Duncker / 109 | Henderson | No final | 15 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 05 | -T-R--- | 10:00A-11:30A | Duncker / 109 | Iler | No final | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 06 | -T-R--- | 2:30P-4:00P | Duncker / 109 | Daniels | No final | 15 | 18 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 07 | -T-R--- | 4:00P-5:30P | Duncker / 109 | Daniels | No final | 15 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 8:30A-10:00A | Eads / 210 | Thomas | No final | 15 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 10:00A-11:30A | Eads / 210 | Thomas | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 03 | -T-R--- | 8:30A-10:00A | Rudolph / 282 | O'Bryan | No final | 15 | 8 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 04 | -T-R--- | 10:00A-11:30A | Rudolph / 282 | O'Bryan | No final | 15 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 05 | -T-R--- | 1:00P-2:30P | Busch / 14 | E. Finneran | No final | 15 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 06 | -T-R--- | 2:30P-4:00P | Busch / 14 | Henderson | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Most legal practice consists not of fine oratory but rather of great writing. However, it is not only lawyers who need to be able to incorporate the law into their professional practice: in this course, we will look at the many different types of writing in and about the law to see how the principles of rhetoric must be used to persuade in different ways depending on the writer's purpose. We will learn the skills necessary to adapt the framing of our writing to its audience as we think about how we might persuade a judge, a lay client, a community, a committee or other professionals. We will consider the psychological effects of our writing and how we seek to persuade our readers not only with the strength of our reasoning but with the power of our emotional appeal to their particular interests. We will learn how to think and write about the law in a range of circumstances as assignments cover writing for business about implications of laws, reporting about a law for the popular press, investigating a legal issue and explaining a law's ramifications as well as attempting to encourage support for a particular law; this is not, however, a technical legal writing course. Readings will be drawn from statutes and judgments but more commonly from academic, business and popular examples of writing on the interpretation of laws governing topical concerns. Issues to be dealt with may include the extent of police/citizens' rights to protect themselves (so-called Stand Your Ground laws); rights to refuse medical treatment (Cruzan v Director, Missouri Dept of Health); religious groups' rights to discriminate (The Religious Freedom Restoration Act); Open Carry laws (St. Louis Zoo v Smith); immigration proposals such as The Dream Act; reform of mandatory prison sentences. This course does not count toward the Creative Writing Concentration. |
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| | 01 | M-W---- | 11:30A-1:00P | Busch / 14 | Thomas | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 10:00A-11:30A | Eads / 209 | E. McPherson | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 2:30P-4:00P | Eads / 208 | Wu | No final | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M------ | 2:30P-5:30P | Eads / 205 | Zafar | Dec 17 2018 3:30PM - 5:30PM | 14 | 9 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 11:30A-1:00P | Sever / 300 | Youngblood | No final | 12 | 8 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | -T-R--- | 1:00P-2:30P | January Hall / 20 | Machado | No final | 12 | 5 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 10:00A-11:30A | January Hall / 20 | Schuman | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | -T-R--- | 10:00A-11:30A | Ridgley / 107 | Brown | Default - none | 12 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 10:00A-11:30A | Cupples II / L007 | K. Finneran | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | SPECIAL NOTE: Admission by wait-list only. Preference will be given to declared Film & Media Studies AND English majors and minors. Writers will explore the various elements, structures and styles used in crafting a motion picture screenplay. They will experience this process as they conceive, develop and execute the first act of a feature-length script. Writers will create a screenplay story, present an outline for class discussion and analysis, then craft Act One. Writers will be encouraged to consult with the instructor at various stages: concept, outline, character and scene development and dialogue execution. While the students fashion their screenwriting independently, the class will also explore the general elements of THEME, GENRE, and VOICE. A more specific examination of mechanics, the nuts and bolts of story construction, plotting, pacing, etc. will follow to support the ongoing writing process. In-class exercises will aid the writer in sharpening skills and discovering new approaches to form and content. Writers' work will be shared and discussed regularly in class. Screening of film scenes and sequences will provide students with concrete examples of how dramatic screenwriting evolves once it leaves the writer's hands. |
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| Description: | In the Internet Age, journalism has migrated from traditional, or "legacy" institutions (book publishers, film & television production companies, newspapers) to digital versions of the same thing, however the craft remains tied to its legacy models. The migration online has endangered certain ecologies of journalistic practice - in particular, arts journalism, especially criticism, the long form investigative essay, and foreign reporting. The first two of these three fit under what I describe as cultural journalism, and our purpose in this class is to practice what have been Cultural Journalism's forms, at the same time as we inquire into the modes and genres that are its future. This course does not count toward the Creative Writing Concentration. |
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| | 01 | -T-R--- | 10:00A-11:30A | Simon / 021 | Hamilton | No final | 15 | 11 | 0 | | |
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| Description: | Defined most simply, politics pertains to the "affairs of the polis," one's community. In its real-life context, writing always interacts with a community, engaging a defined audience to create an intended effect. So writing always pertains to the polis, and thus, writing is inherently political. In this class, we will focus on political writing by writers who are not politicians, that is to say, official experts on the polis. Foregoing public policy memoranda and economic analyses, we will look at how journalists, grassroots organizers, and creative writers have consciously written to intervene in the affairs of their communities despite their outsider status. Using rhetorical insight and logical analysis, we will examine how writers craft works that inspire and move audiences in several genres: essay, polemic, journalism, and satire. Readings will include Marx and Engels's "Communist Manifesto," Audre Lorde's essays on feminism, Hunter Thompson's gonzo journalism, and the satire of Samantha Bee. Student writing will apply our lessons about the interaction of audience and purpose in order to express political opinions as effectively as possible to the appropriate audience. This course does not count toward the Creative Writing Concentration. |
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| Description: | This class is about how writers absorb the world around them and transform it into their work. In other words, it is a class about style: what it means, "how" it means, where it comes from, and how different writers arrive at it. We'll read mostly modern and contemporary authors, emphasizing works so stylistically distinctive that they carry the imprint of their authors in every sentence. We'll look at how the same artistic and social questions work their way through different writers to yield different results. We'll think about style as an expression of values, and how a book is like a person, and how a person is like a pattern for a book. The class's emphasis, both in writing and reading, is on fiction. Writing-wise, you'll be asked to try things out that might lead you in interesting directions, and you'll produce and workshop stories within the context of our larger discussion. Prereqs: Fiction 1, Fiction 2. This course counts toward the Creative Writing Concentration. |
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| | 01 | M-W---- | 11:30A-1:00P | Seigle / 205 | Riker | No final | 8 | 5 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | The purpose of this craft course is to contemplate poetry and prose-as agonists, friends, lovers, perhaps even servants of each other. You won't be restricted to writing prose poetry, though that will account for a portion of your coursework. We'll study the Symbolist origins of the prose poem, hazard alternate theories by reading beyond the anthological, and put conventional notions about the sentence, line, and prosody to the test. Indeed, we'll even question the idea that prose is the "natural" form of language and poetry the "artificial." Readings include work by Etel Adnan, John Ashbery, Aimé Césaire, Don Mee Choi, and Layli Long Soldier, among others. Students shall engage in a range of writing practices, ranging from annotation and meditation to the incantatory and the subversive. |
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| | 01 | -T-R--- | 10:00A-11:30A | Cupples II / L011 | Machado | See instructor | 12 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | TBA | | TBA | Bailin | See department | 999 | 0 | 0 | | |
| 02 | TBA | | TBA | Arch | See department | 5 | 0 | 0 | | |
| 03 | TBA | | TBA | Bang | See department | 999 | 0 | 0 | | |
| 04 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 05 | TBA | | TBA | Batten | See department | 999 | 0 | 0 | | |
| 06 | TBA | | TBA | Drury | See department | 999 | 0 | 0 | | |
| 07 | TBA | | TBA | Early | See department | 999 | 0 | 0 | | |
| 10 | TBA | | TBA | Dutton | See department | 999 | 0 | 0 | | |
| 11 | TBA | | TBA | Fields | See department | 999 | 0 | 0 | | |
| 12 | TBA | | TBA | Finneran | See department | 999 | 0 | 0 | | |
| 14 | TBA | | TBA | Gurnis | See department | 999 | 0 | 0 | | |
| 15 | TBA | | TBA | Hamilton | See department | 999 | 0 | 0 | | |
| 16 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 18 | TBA | | TBA | Johnston | See department | 999 | 0 | 0 | | |
| 19 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 20 | TBA | | TBA | Klimasewiski | See department | 25 | 0 | 0 | | |
| 21 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 22 | TBA | | TBA | Lawton | See department | 999 | 0 | 0 | | |
| 23 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 24 | TBA | | TBA | Loewenstein | See department | 999 | 0 | 0 | | |
| 26 | TBA | | TBA | Matthews | See department | 5 | 0 | 0 | | |
| 28 | TBA | | TBA | Maxwell | See department | 50 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | See department | 999 | 0 | 0 | | |
| 30 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 31 | TBA | | TBA | Meyer | See department | 999 | 0 | 0 | | |
| 32 | TBA | | TBA | Micir | See department | 999 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | See department | 999 | 0 | 0 | | |
| 34 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | See department | 999 | 0 | 0 | | |
| 36 | TBA | | TBA | [TBA] | See department | 0 | 0 | 0 | | |
| 37 | TBA | | TBA | Pawl | See department | 999 | 0 | 0 | | |
| 38 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | See department | 999 | 0 | 0 | | |
| 40 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | See department | 999 | 0 | 0 | | |
| 42 | TBA | | TBA | [TBA] | See department | 4 | 0 | 0 | | |
| 43 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 44 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | See department | 999 | 0 | 0 | | |
| 46 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | See department | 999 | 0 | 0 | | |
| 48 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 49 | TBA | | TBA | Salli | See department | 999 | 0 | 0 | | |
| 50 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 51 | TBA | | TBA | Schmidgen | See department | 999 | 0 | 0 | | |
| 52 | TBA | | TBA | Schuman | See department | 5 | 0 | 0 | | |
| 53 | TBA | | TBA | Shea | See department | 999 | 0 | 0 | | |
| 54 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 55 | TBA | | TBA | Sherry | See department | 999 | 0 | 0 | | |
| 56 | TBA | | TBA | Sweetman | See department | 15 | 0 | 0 | | |
| 57 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 58 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 59 | TBA | | TBA | Walker | See department | 999 | 0 | 0 | | |
| 60 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 61 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 62 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 63 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 64 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 65 | TBA | | TBA | Zafar | See department | 999 | 0 | 0 | | |
| 66 | TBA | | TBA | [TBA] | See department | 999 | 0 | 0 | | |
| 67 | TBA | | TBA | Zwicker | See department | 999 | 0 | 0 | | |
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| Description: | Dorothy, a publishing project-a nationally acclaimed independent press publishing works of innovative fiction-offers a one-year internship for an MFA student in creative writing. Students can apply in the spring of their first year, to begin the internship the following fall. The intern chosen will work directly with Marty Riker, the press's publisher, on mutually agreed upon projects that take into account the intern's interests and strengths. In general, however, the internship is designed to give students a wide range of experience with literary publishing, and so will likely involve a mix of editorial tasks (e.g., reviewing submissions, writing reader's reports, copyediting manuscripts in layout), marketing, design, and book production and distribution. The intern will also have opportunities to represent the press publicly, including at the annual AWP conference (travel and hotel expenses will be covered), and his or her name will appear on the press's masthead. Interested students should submit a letter of application and CV to Professor Dutton (ddutton@wustl.edu) and Program Director David Schuman (dschuman@wustl.edu) no later than March 15 of the spring semester of their first year. Prerequisite: Completion in good standing of the first year of the MFA in Creative Writing and accepted application. |
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| | 01 | -T----- | 3:00P-6:00P | Duncker / 210 | Klimasewiski | No final | 12 | 10 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T----- | 2:30P-5:30P | Eads / 209 | Bang | See department | 12 | 10 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T----- | 3:00P-6:00P | Rudolph / 282 | E. McPherson | Default - none | 12 | 8 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | In addition to covering the usual elements of prosody as handed down from English literary tradition -- meter, sonic patterning, fixed and open forms, and the shifting roles of grammar, syntax, lines, and sentences -- we will focus on Indigenous, queer, Latinx, and other historically marginalized voices, looking at how those voices engage with this tradition and how (and why) they variously reshape and/or refuse the tradition in favor of alternative prosodies and poetics. |
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| | 01 | --W---- | 2:30P-5:30P | Eads / 209 | Phillips | Default - none | 12 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | ---R--- | 2:30P-5:30P | Eads / 209 | K. Finneran | No final | 12 | 5 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | TBA | | TBA | Klimasewiski | No final | 10 | 3 | 0 | | |
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| | 01 | TBA | | TBA | Phillips, Bang | No final | 20 | 0 | 0 | | |
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| | 01 | TBA | | TBA | E. McPherson | No final | 20 | 4 | 0 | | |
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