| 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. This course will satisfy the Writing 1 requirement. |
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| | B | M---F-- | 2:00P-3:00P | Eads / 102 | Benjamin | No Final | 0 | 13 | 0 | | |
| C | M---F-- | 3:00P-4:00P | Eads / 102 | Benjamin | No Final | 0 | 11 | 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 | 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: | 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. This course does not count toward the Creative Writing Concentration. |
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| | 01 | -T-R--- | 1:00P-2:30P | January Hall / 20 | 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 | M-W---- | 11:30A-1:00P | Duncker / 109 | Linares | 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--- | 1:00P-2:30P | Simon / 022 | Marr | 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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| 03 | M-W---- | 8:30A-10:00A | Busch / 14 | 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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| 04 | M-W---- | 10:00A-11:30A | Eads / 210 | Paar | 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 | -T-R--- | 10:00A-11:30A | Eads / 209 | Montesanti | No Final | 12 | 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---- | 8:30A-10:00A | Rudolph / 282 | Samaniego | 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 | M-W---- | 11:30A-1:00P | Rudolph / 282 | Rosen | 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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| 03 | M-W---- | 1:00P-2:30P | 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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| 04 | -T-R--- | 10:00A-11:30A | Cupples I / 215 | McCrory | 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--- | 10:00A-11:30A | Eads / 103 | Riker | 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--- | 11:30A-1:00P | January Hall / 10 | Morales | 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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| 07 | -T-R--- | 4:00P-5:30P | Eads / 210 | 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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| 08 | -T-R--- | 2:30P-4:00P | Eads / 210 | 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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| | 01 | M-W---- | 11:30A-1:00P | Eads / 209 | 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 | -T-R--- | 11:30A-1:00P | Eads / 209 | 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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| 03 | -T-R--- | 1:00P-2:30P | Simon / 020 | P. Tran | 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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| 04 | M-W---- | 10:00A-11:30A | Cupples II / L007 | Criss | 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---- | 1:00P-2:30P | Eads / 210 | Wilson | 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--- | 10:00A-11:30A | Rudolph / 282 | Youngblood | 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 | No Final | 0 | 4 | 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---- | 10:00A-11:30A | Seigle / 306 | 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---- | 11:30A-1:00P | Seigle / 306 | 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: | 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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| | 01 | -T-R--- | 11:30A-1:00P | Eads / 210 | Henderson | No Final | 15 | 14 | 0 | | |
| 02 | -T-R--- | 8:30A-10:00A | Eads / 210 | Henderson | No Final | 15 | 12 | 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 | Sever / 300 | 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 | Sever / 300 | 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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| 03 | M-W---- | 11:30A-1:00P | Sever / 300 | 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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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 303 | O'Bryan | 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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| 02 | M-W---- | 11:30A-1:00P | Seigle / 303 | O'Bryan | 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 | Duncker / 109 | Hamilton | No Final | 15 | 3 | 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 | Cupples II / L015 | Henderson | No Final | 15 | 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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| 06 | -T-R--- | 2:30P-4:00P | Duncker / 3 | Daniels | 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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| 07 | -T-R--- | 4:00P-5:30P | Duncker / 3 | 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---- | 8:30A-10:00A | Cupples II / L011 | Thomas | No Final | 15 | 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 | M-W---- | 10:00A-11:30A | Cupples II / L011 | Thomas | 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 | Eads / 103 | Shipe | 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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| 04 | -T-R--- | 11:30A-1:00P | Ridgley / 107 | 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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| 05 | -T-R--- | 1:00P-2:30P | Eads / 116 | Henderson | 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---- | 11:30A-1:00P | Busch / 14 | 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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| | 01 | -T-R--- | 10:00A-11:30A | Eads / 203 | E. McPherson | 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 | M-W---- | 4:00P-5:30P | Eads / 204 | Wu | 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 | Busch / 14 | 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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| | 01 | M------ | 2:30P-5:30P | McMillan / 219 | Zafar, Rice-Guter | May 6 2019 3:30PM - 5:30PM | 0 | 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 | -T-R--- | 11:30A-1:00P | January Hall / 10A | Hernandez | 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-R--- | 11:30A-1:00P | Cupples I / 215 | Schuman | 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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| | 01 | -T-R--- | 2:30P-4:00P | January Hall / 10 | 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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| 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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| 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--- | 1:00P-2:30P | Eads / 209 | Klimasewiski | No Final | 0 | 12 | 0 | | |
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| | 01 | -T-R--- | 10:00A-11:30A | Duncker / 109 | Machado | No Final | 10 | 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: | Guided by Audre Lorde and Sappho, this course intends to explore the range of experience that might come under the umbrella of pleasure: ecstasy, joy, eros, tranquility, and so on. We'll consider the phenomenology of pleasure but also its modes of cognition and its potential to disrupt/subvert ("Happiness is resistance," says Etel Adnan). The big question: what are the forms to pleasure? We'll read writers (poets, activists, philosophers) who might aid us in the answer as well as practice techniques that enact or encourage desire (excessive poetics, somatic exercises, embarrassments of sound and syntax). End goals: individually, poetry chapbooks; collectively, a critical compendium of desire and delight. This course counts toward the Creative Writing Concentration.
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| | 01 | -T-R--- | 1:00P-2:30P | Eads / 112 | Machado | No Final | 10 | 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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| Description: | This course's premise is that critical writing--about fiction, poetry, visual art, and culture generally--is a genre capable of as full a range of expression as any, as potentially artful as any; that at its best, criticism is art. The course will be part survey, part workshop. The workshop aspect will entail writing two different works within the genre, chosen from among the various types of critical writing we survey. For the survey aspect, we'll read book reviews to manifestos to book-length poetic-critical hybrids. The goal is not really compare-and-contrasting but rather considering each form within its rhetorical context and seeing what we can learn. We might look at how a single writer handles various subjects, and at how various writers handle a single subject. Writers likely to be read include Susan Howe, James Baldwin, Dave Hickey, Anne Carson, William Carlos Williams, Susan Sontag, James Wood, E. A. Poe, and Viktor Shklovsky. We will definitely read Roland Barthes. |
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| | 01 | -T-R--- | 1:00P-2:30P | Lopata Hall / 229 | Riker | 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 | 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 | Daniels | No Final | 999 | 1 | 0 | | |
| 09 | TBA | | TBA | Dutton | No Final | 0 | 0 | 0 | | |
| 12 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 13 | TBA | | TBA | Freixas | No Final | 0 | 1 | 0 | | |
| 14 | TBA | | TBA | Fields | No Final | 999 | 0 | 0 | | |
| 15 | TBA | | TBA | Finneran | No Final | 0 | 0 | 0 | | |
| 16 | TBA | | TBA | harris | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | TBA | Hamilton | No Final | 0 | 0 | 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 | 0 | 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 | --W---- | 2:30P-5:30P | Ridgley / 107 | Dutton | 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 / 210 | 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 | Busch / 14 | K. Finneran | No Final | 8 | 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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| | 01 | ---R--- | 2:30P-5:30P | Ridgley / 107 | Bang | 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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| 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, Louise Erdrich, Natalia Ginzburg, James Baldwin, Rebecca Solnit, Jamaica Kincaid, Lillian Ross, Rachel Kaadzi Ghansah, Susan Orlean, Colson Whitehead, Valeria Luiselli, Svetlana Alexievich, Vladimir Nabokov, J.A. Baker, Joe Sacco, D.J. Waldie, T Clutch Fleischmann, Pico Iyer, 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. Only open to students in the MFA Creative Writing Program. |
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| | 01 | -T----- | 2:30P-5:30P | Sever / 300 | E. McPherson | 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 | TBA | | TBA | Schuman | No Final | 20 | 2 | 0 | | |
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| | 01 | TBA | | TBA | Phillips | No Final | 20 | 4 | 0 | | |
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| | 01 | TBA | | TBA | McPherson | No Final | 20 | 0 | 0 | | |
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