| | 01 | M------ | 3:00P-4:00P | Wilson / 214 | Schmidgen | No Final | 120 | 67 | 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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| B | --W-F-- | 9:00A-10:00A | Seigle / 111 | Koch | No Final | 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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| C | --W-F-- | 11:00A-12:00P | Eads / 209 | Collins | 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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| D | --W-F-- | 1:00P-2:00P | Crow / 205 | Sanders | 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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| F | --W-F-- | 2:00P-3:00P | Eads / 116 | Lillard | No Final | 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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| I | --W-F-- | 3:00P-4:00P | Eads / 211 | Levinson | 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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| J | --W-F-- | 3:00P-4:00P | Ridgley / 122 | Pergadia | No Final | 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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| 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. |
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| | 01 | -T-R--- | 10:00A-11:30A | Eads / 210 | Daniels | No Final | 15 | 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: | 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. Prerequisite: Writing 1. |
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| | 01 | -T-R--- | 1:00P-2:30P | Eads / 210 | E. Finneran | No Final | 15 | 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 | Seigle / 103 | Chapman | 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--- | 1:00P-2:30P | Cupples I / 218 | Wiseman | 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--- | 11:30A-1:00P | Simon / 021 | Nakaue | 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--- | 1:00P-2:30P | Duncker / 109 | 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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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 303 | Klimasewiski | 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 | Lopata Hall / 103 | Sung | No Final | 12 | 4 | 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 / L007 | Duff | 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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| 04 | M-W---- | 1:00P-2:30P | Seigle / 208 | Kim | No Final | 12 | 6 | 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 | Eads / 212 | Dutton | 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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| 06 | -T-R--- | 11:30A-1:00P | Lopata Hall / 229 | Lamb | No Final | 12 | 7 | 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 | Duncker / 1 | Sherman | 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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| 08 | -T-R--- | 1:00P-2:30P | Eads / 212 | Wood Martinez | 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---- | 2:30P-4:00P | Danforth Ctr / 236 | Donish | 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 | M-W---- | 11:30A-1:00P | Seigle / 106 | Spencer | No Final | 12 | 7 | 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 | Simon / 023 | Rosenthalis, Askew | 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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| 04 | -T-R--- | 10:00A-11:30A | Eads / 209 | Stiefel | 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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| 05 | -T-R--- | 11:30A-1:00P | Seigle / 210 | Pittinos | 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 | -T-R--- | 1:00P-2:30P | Eads / 209 | Kessler | 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: | For students who have a particular interest in health, illness, and medical care. Exposition is a course that considers style in relationship to audience and purpose, asking the writer to engage more consciously with writing conventions, and to explore strategies appropriate to various writing situations, from the more experimental and performative to the more formal and scholarly. The course will involve frequent practice in analyzing and critiquing, with special attention to techniques of organization, argument, and emphasis. Students in this special section of Exposition will read essays, journalism, and personal narratives about the experience of physicians and patients in the modern health care system. Students will use expository writing to think critically and personally about their own experiences with illness and disease. Pre-medical students might use this opportunity to write and think about the anticipated rewards and challenges of the profession they hope to join. |
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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. |
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| | 01 | M-W---- | 10:00A-11:30A | Lopata House / 16 | 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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| 02 | M-W---- | 11:30A-1:00P | Lopata House / 16 | 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---- | 1:00P-2:30P | Lopata House / 16 | 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 | M-W---- | 10:00A-11:30A | Cupples II / L011 | Shipe | 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---- | 1:00P-2:30P | Eads / 210 | E. Finneran | 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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| 03 | -T-R--- | 11:30A-1:00P | Life Sciences / 118 | O'Bryan | No Final | 15 | 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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| 04 | -T-R--- | 1:00P-2:30P | Duncker / 1 | 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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| 05 | -T-R--- | 2:30P-4:00P | Duncker / 1 | Daniels | 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 | M-W---- | 10:00A-11:30A | Seigle / 210 | 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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| 02 | M-W---- | 11:30A-1:00P | Seigle / 210 | O'Bryan | 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--- | 10:00A-11:30A | Ridgley / 401 | Hamilton | No Final | 15 | 4 | 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 | Ridgley / 219 | Thomas | 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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| 06 | -T-R--- | 2:30P-4:00P | Ridgley / 417 | Hamilton | No Final | 15 | 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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| 07 | M-W---- | 11:30A-1:00P | Eads / 210 | E. Finneran | No Final | 15 | 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: | In this class, we will study journalism in both its slow, literary, and new, electronic forms - i.e., newspaper, magazine, blog, tweet, and journal. We will discuss how these forums treat basic questions: How are facts disclosed, selected, and interpreted? How is experience dramatized and narrated? Any writer's experience of, and response to, cultural and social events gets changed by writing about them into a participation in them: we will observe how this has been narrated and exposed at the movies, by music, and by sports. The class offers both a historical overview of the new journalism since 1945, as well as frequent opportunities to develop a clip file of articles that reflect a wide-ranging practice in these genres. Prerequisite: Writing 1. |
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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 106 | Thomas | 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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| 02 | M-W---- | 11:30A-1:00P | Seigle / 104 | Thomas | No Final | 15 | 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 | -T-R--- | 10:00A-11:30A | Rudolph / 282 | E. 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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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 306 | Riker | No Final | 12 | 7 | 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 | McDonnell / 362 | Riker | No Final | 12 | 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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| 04 | -T-R--- | 1:00P-2:30P | Eads / 203 | Hansen | 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--- | 1:00P-2:30P | Duncker / 3 | Rosenthalis | No Final | 12 | 6 | 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 | Duncker / 109 | Schuman | No Final | 9 | 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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| 03 | -T-R--- | 11:30A-1:00P | Eads / 115 | Mager | 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 | Seigle / 206 | 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: | SPECIAL NOTE: Admission by Wait-list only. Preference will be given to Film & Media Studies AND English majors/minors. Writers will explore the various elements, structure 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. Priority given to majors. |
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| | 01 | M-W---- | 10:00A-11:30A | Danforth Ctr / 236 | harris | No Final | 10 | 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--- | 1:00P-2:30P | Sever / 300 | Dutton | 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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| Description: | Contemporary poetry has deviated from every established prosodic standard, except perhaps, the line break itself. In this course, we will examine the 21st century poetic line, many of the spoken and unspoken assumptions about how lineation works on the page and sometimes, how it leaps off. Using approaches to line and rhythm, such as those by Derek Attridge, James Longenbach and others, we will examine the evolution of the poetic line and practice writing poems comprised of lines that are powerful, memorable, and magic. Our models will range widely, from John Keats, Marianne Moore and Allen Ginsberg to Douglas Kearney, M. Nourbese Philip and Oni Buchanan. |
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| | 01 | M-W---- | 11:30A-1:00P | Danforth Ctr / 236 | harris | No Final | 10 | 7 | 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 | No Final | 999 | 0 | 0 | | |
| 05 | TBA | | TBA | Batten | No Final | 0 | 0 | 0 | | |
| 06 | TBA | | TBA | Brockmann | No Final | 0 | 0 | 0 | | |
| 08 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 09 | TBA | | TBA | Dutton | No Final | 0 | 0 | 0 | | |
| 12 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 14 | TBA | | TBA | Fields | No Final | 999 | 0 | 0 | | |
| 15 | TBA | | TBA | Finneran | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | TBA | Hamilton | No Final | 0 | 1 | 0 | | |
| 18 | TBA | | TBA | Gurnis | No Final | 0 | 0 | 0 | | |
| 19 | TBA | | TBA | Johnston | No Final | 999 | 0 | 0 | | |
| 21 | TBA | | TBA | Klimasewiski | No Final | 0 | 0 | 0 | | |
| 22 | TBA | | TBA | Legault | No Final | 6 | 0 | 0 | | |
| 23 | TBA | | TBA | Lawton | No Final | 999 | 0 | 0 | | |
| 25 | TBA | | TBA | Loewenstein | No Final | 0 | 0 | 0 | | |
| 27 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 28 | TBA | | TBA | Maxwell | No Final | 0 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | No Final | 0 | 0 | 0 | | |
| 30 | TBA | | TBA | McPherson | No Final | 0 | 0 | 0 | | |
| 31 | TBA | | TBA | Meyer | No Final | 999 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | No Final | 999 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | No Final | 999 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | No Final | 0 | 0 | 0 | | |
| 40 | TBA | | TBA | Pippin | No Final | 0 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | No Final | 99 | 0 | 0 | | |
| 43 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | No Final | 99 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | No Final | 99 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | No Final | 99 | 0 | 0 | | |
| 50 | TBA | | TBA | Schuman | No Final | 0 | 3 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 99 | 0 | 0 | | |
| 55 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 99 | 0 | 0 | | |
| 59 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 61 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 63 | TBA | | TBA | Zafar | No Final | 99 | 0 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 99 | 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 Danielle Dutton, the press's editor, 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 | TBA | | TBA | Schuman, Dutton | No Final | 5 | 1 | 0 | | |
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| | 01 | --W---- | 3:00P-6:00P | TBA | Davis | No Final | 10 | 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 | --W---- | 2:30P-5:30P | Eads / 209 | Phillips | No Final | 10 | 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 | --W---- | 2:30P-5:30P | Simon / 021 | K. Finneran | No Final | 7 | 7 | 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 | ----F-- | 1:00P-4:00P | TBA | Davis | See Instructor | 0 | 7 | 0 | | |
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| Description: | Joan Didion writes, "A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his image." This craft class will focus on the notion of place in creative nonfiction. We will ask: what happens when the background moves to the foreground and begins to do the work of character, story, and theme? How does a writer navigate the current between a physical landscape and an emotional one? We'll look at strategies for locating our work in a specific landscape-evoking not just setting, but loading it with context, feeling, desire, and language. We will read writers such as Joan Didion, Teju Cole, D.J. Waldie, James Baldwin, Rebecca Solnit, Jamaica Kincaid, Robert Sullivan, Rachel Kaadzi Ghansah, Eula Biss, Colson Whitehead, Valeria Luiselli, Svetlana Alexievich, John McPhee, Lia Purpura, David Ulin, Ian Frazier, and David Rakoff. Students will write in- and out-of-class exercises, as well as complete and present a new creative project at the end of the semester. Preference is given to graduate students in the MFA program. |
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| | 01 | -T----- | 2:30P-5:30P | Cupples I / 207 | E. McPherson | No Final | 10 | 7 | 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 | Schuman | No Final | 20 | 2 | 0 | | |
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| | 01 | TBA | | TBA | Phillips | No Final | 20 | 2 | 0 | | |
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| | 01 | TBA | | TBA | [TBA] | No Final | 20 | 0 | 0 | | |
|
| | 01 | TBA | | See Dept / | Klimasewiski | No Final | 999 | 0 | 0 | | |
|
| | 01 | TBA | | See Dept / | Klimasewiski | No Final | 999 | 0 | 0 | | |
|
|