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Course Criteria
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1.00 Credits
Using feminist, narratological, and reader-response approaches, we will re-examine a number of canonical American texts read "against the grain." That is, we shall pay attention to the inadvertent ways in which both central and marginal figures are distorted in order to create stories that re-enact central American myths of adventure, manliness, conquest, and manifest destiny. Authors will include Sherwood Anderson, Henry James, Fitzgerald, and Hemingway, and possibly Stowe, Cather, Richard Wright, Mailer, and Erdrich, among others. This course satisfies the requirement of a course emphasizing literature written after 1800 or a literary theory course. 1.00 units, Lecture
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0.00 Credits
Examination of the life, work, death, and legacy of Virginia Woolf. Readings include The Voyage Out, Mrs. Dalloway, To the Lighthouse, A Room of One's Own, Orlando, and Between the Acts, as well as autobiographical and critical writings, and biographies of Woolf. This course satisfies the major requirement of a theory course or of a course concentrating on literature written after 1800, and may be counted toward the minor in literature and psychology. Prerequisite: English 260 with a minimum grade of C-. 1.00 units, Lecture
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3.00 Credits
This is both a course on literary interpretation and an opportunity for creative fiction writing. We will read a series of women's texts, from Jane Austen onwards, as literary critics and as practitioners, thinking about themes, trends, preoccupations, and the practical application of technical excellences. For English majors, this course counts as an elective. 1.00 units, Lecture
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1.00 Credits
Two competing aesthetics have dominated American and English fiction during the past century-realism, and everything that is not realism, from the rigorously avant-garde or "post-modern" to pop sci-fi and fantasy and "high-low" hybrids. In much of the rest of the world, realism is regarded as an outdated or minor form. In class we will examine some of the reasons for this split, though our readings will be almost entirely of non-realist works that explore and interrogate the imaginative, verbal and formal possibilities of fictional narrative. We will begin with some writings by still influential precursors and writers of the past century (selections from among Kafka, Beckett, Borges, Bernhard, Nabokov, Calvino, Dick) to contemporary writers such as Coetzee, Murakami, Rushdie, Bolano, Aira, Foster Wallace, Markson, and younger writers such as Junot Diaz, Tom McCarthy, Marissa Pessl, and Rivka Galchen. There will be a selection of critical readings as well. Recommended for creative writing students and enthusiastic readers of fiction from other disciplines. For English majors, this course satisfies the requirement of an elective. 1.00 units, Lecture
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1.00 - 18.00 Credits
The last words of Ralph Ellison's "invisible man" are these: "Who knows but that, on the lower frequencies, I speak for you." An African American, he finds himself invisible in American culture; nevertheless, he suspects that his plight is, on the lower frequencies, ours. In this course on Southern literature and culture, we will try to amplify those frequencies so that we can hear how they transmit the voices and values of women and of African Americans. We will examine some studies of Southern culture, read some novels (Faulkner's Go Down, Moses, Hurston's Their Eyes Were Watching God, Chopin's The Awakening, and Welty's Delta Wedding, among others), listen to some blues and country music, and read at least one play by Tennessee Williams. This course satisfies the requirement of a course emphasizing cultural context or a course emphasizing literature written after 18 1.00 units, Lecture
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1.00 Credits
This course considers the critical acclaim for and commercial hype over black women's writing in the 20th century as a jumping off point for discussions of black women's literature since 2000. Considering the rich diversity of aesthetic and thematic approaches in 21st century African American women's texts, we will consider what is distinctive about this work, as well as if and how it forms a continuum with an earlier canon. Some topics for discussion will include class identity, genre, the avant-garde and the influence of Oprah Winfrey. We will read poetry by Harryette Mullen, Elizabeth Alexander and Claudia Rankine, fiction by Octavia Butler, ZZ Packer, Kim McClarin and Jamaica Kincaid, and the work of playwright Suzan-Lori Parks. In order to form a basis for comparison, we will read a handful of foundational works published in the 20th century: Beloved, Their Eyes Were Watching God, and poetry collections by Gwendolyn Brooks and Maya Angelou. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1800, or a course emphasizing cultural context 1.00 units, Lecture
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1.00 Credits
An advanced interdisciplinary workshop in argumentation, with frequent practice in writing and speaking. Students will explore the dynamics of language and logic in a variety of contemporary contexts, as well as engage in interactive debates on both academic and "real world" topics. 1.00 units, Lecture
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3.00 Credits
In this course we examine the resilient form of the short story through a wide selection of both classic and contemporary writers. To list just some examples, we'll read work by Chekhov, Virginia Woolf, Faulkner, Hemingway, Borges, Welty, Cheever, James Baldwin, Flannery O'Connor, Alice Munro, and Ha Jin. Our main text is The Art of the Short Story (Dana Gioia and R.S. Gwynn). We'll perform close textual readings, use various critical approaches and literary terms, and set the stories in the context of their historical periods and literary traditions. What is also important in this course is that we view the works from the authors' perspectives, and learn to read like a writer through the analysis of some of the basic elements of short fiction. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1800. 1.00 units, Lecture
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0.00 Credits
Instructor: Papoulis, Irene Course description should read: Creative nonfiction, sometimes called "the fourth genre," has had a resurgence in recent decades. It is "nonfiction" in that the writer strives to be clear about what really happened, and to be honest about expression of opinion, imagination, or autobiographical narrative. It is "creative" in that its writers consciously create art: they are attentive to craft, to language, and to the movement of narrative structures. This class is a writing workshop in which students will produce a series of creative nonfiction essays. We will read various published authors with an eye to how their work is constructed, but our primary focus will be on students' writing. For English majors, this course satisfies the requirement of an elective, for writing and rhetoric minors, it counts as a core co Prerequisite: C- or better in ENGL 270 or Permission of Instructor 1.00 units, Seminar
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1.00 Credits
Students will write and rewrite fiction. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. This course satisfies the requirement of a 300-level workshop for creative writing majors. 1.00 units, Lecture
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