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Course Criteria
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3.00 Credits
Full course for one semester. In this workshop students will write short stories and read the work of their classmates, as well as that of published authors. Special emphasis will be given to understanding narrative strategies, critically responding to others' work, and revising one's own fiction. The exercises provided and the published stories read (such as Kawabata, O'Connor, Hemingway, Joyce, and Munro) will illustrate basic narrative decisions and some strategies used to enhance narrative development. Class sessions will be used for discussion of assigned readings and work in progress. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, at least sophomore standing, and consent of the instructor. Conference. Not offered 2009-10
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3.00 Credits
Full course for one semester. According to Lucille Clifton, "Poetry began when somebody walked off a savanna or out of a cave, looked up at the sky with wonder and said, 'Ah-h-h!'" In this introductory poetry studio students will engage in writing exercises designed to help them strengthen their poetry writing skills. We will read, listen to, and analyze poetry written by nationally recognized authors in an attempt to find a common critical language that we will use while discussing student work. To that end, students will write poetry, both in and out of class, and will workshop that poetry with their peers. Enrollment limited to 15. Prerequisites: a writing sample of three to five poems and consent of the instructor. Conference. Not offered 2009-1
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3.00 Credits
Full course for one semester. This studio will focus on the craft of revision by concentrating on rhetorical strategies, point of view, logic, tone, subject matter, and the "why" of the poem. Students will be presented with a series of tools with which to tackle the often confounding, mysterious, and very gratifying task of revising poems. Students should have at least four poems they want to revise on the first day of class as our focus will be on revising current work, not generating new work. Enrollment limited to 15. Prerequisites: a writing sample of three to five poems by the published deadline and Creative Writing 224. Conference. Not offered 2009-10.
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3.00 Credits
Creative Nonfiction Full course for one semester. This course is designed for students with considerable experience as writers and an interest in the aesthetic and ethical issues involved in the practice of creative nonfiction. The class will read essays from a wide range of writers (Hazlitt, Emerson, Turgenev, E.M. Cioran, Camus, Orwell, Joan Didion, Eldridge Cleaver, Denis Johnson, and others). Class time will be divided between a discussion of reading assignments and a workshop in which the group critiques student essays. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, a 200-level creative writing course, at least sophomore standing, and consent of the instructor. May be repeated for credit. Not offered 2009-10. Economy Full course for one semester. This workshop is designed for students with considerable experience in writing short prose. Students will read stories and essays by published authors in order to learn how to manage effects economically, and to write with maximum efficiency and suggestion. Students will write one short piece of prose per week; critically responding to others' work, and the revision of one's own stories, will also be emphasized. Class sessions will be used for discussion of assigned readings and work in progress. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, one 200-level creative writing course, at least sophomore standing, and consent of the instructor. May be repeated for credit. Conference.Investigating Narrative Genres Does the story change if the mode of storytelling changes This workshop will examine the question of how the narrative is affected by the use of three types of storytelling: the personal nonfiction essay, the short story, and the screenplay. Students will write a piece of nonfiction and follow its adaptation into fiction and then into screenplay. Students will also read and respond to each other's work, as well as the work of Didion, Hemingway, and A.S. Byatt (including a screen adaptation of her work), among others. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, one 200-level creative writing course, at least sophomore standing, and consent of the instructor. May be repeated for credit. Conference. Linked Short Stories Full course for one semester. This workshop is designed for students with considerable experience in writing short fiction. Students will read published stories by writers such as Munro, Hemingway, Joyce, Dybek, Diaz, and Porter, that are linked by theme, character, plot, setting, and so on. Our goal will be to understand such connection as a generative device that lends dimension to fictional worlds. Student work will also focus on writing stories that are linked. Special emphasis will be given to individual voices, critically responding to others' work, and the revision of one's own stories. Class sessions will be used for discussion of assigned readings and work in progress. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, one 200-level creative writing course, at least sophomore standing, and/or consent of the instructor. May be repeated for credit. Conference. Not offered 2009-10.Mentors Full course for one semester. This workshop is designed for students with considerable experience in writing short fiction. Students will read several stories by one published author, such as O'Connor, Hemingway, Cheever, or Gaitskill, in order to learn from these writers by investigating their range. Special emphasis will be given to individual voices, critical response to others' work, and the revision of one's own stories. Class sessions will be used for discussion of assigned readings and work in progress. Enrollment limited to 15. Prerequisites: a writing sample of three to five pages, one 200-level creative writing course, at least sophomore standing, and consent of the instructor. May be repeated for credit. Conferen
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3.00 Credits
Found Poems Full course for one semester. This class will focus on finding poems in unusual places-on political blogs, in newspapers, music lyrics, movies, want ads, in advertisements, by process of collaboration-everywhere. A large part of this class will be generative: we will spend a good deal of class time on in-class writing exercises, watching and listening to generative materials, all in an effort to broaden our sense of where we might find and how we might compose poetry. By course end students should have a series of poems composed by using and/or referencing nontraditional sources and materials. Enrollment limited to 15. Prerequisites: a writing sample of three to five poems by the published deadline, Creative Writing201 or 224, or by consent of the instructor. Conference. Not offered 2009-10.Identity Full course for one semester. One of the prevailing themes in literature is identity, and how we construct identity is complicated by social, economic, and cultural factors. In this course, students will focus on writing poems that directly create a multifaceted and universally compelling identity. We will use current events, family history, and mythology in an effort to stimulate the creative process. Students will work toward creating a portfolio of poems in which identity emerges as the primary theme. Most of our time will be spent assessing student work. This studio is designed for students who have had extensive creative writing workshop experience. Prerequisites: Creative Writing 224, a writing sample of three to five poems, and consent of instructor. Conference. Not offered 2009-10. The Natural World Full course for one semester. In this studio, students will investigate the natural world by visiting places like the Hoyt Arboretum, the Oregon Zoo, and the OMSI Planetarium. Our goal will be to produce work that reflects, is inspired by, and/or discusses what we've heard, seen, and learned. In the end, we will focus on "re-seeing" the world around us and writing about the relationship nature plays in our daily lives through the use of metaphor, image, and symbolism. Enrollment limited to 15. Prerequisites: a writing sample of three to five poems by the published deadline, and Creative Writing 201 or 224, or consent of the instructor. Conference. Not offered 2009-10Reading for Writers Full course for one semester. There are many ways of reading. We read as fans, voyeurs, news gatherers, scholars. Writers can also read with a different set of goals in mind: to learn how to craft poems. In this course, our goal is to collect as much data as we can about the way master poets employ elements like narrative, image, metaphor, sound, rhythm, and pacing. We will then practice what we've learned by imitating master poets' work. What students will learn in this class has as much to do with the craft of master poets as it does with their own stylistic, thematic, and craft preferences. We will read and imitate at least seven texts and engage in a traditional workshop of our imitations. Poets we study might include Snyder, Clifton, Forche, Hoagland, Doty, among others. We might tie some of our inquiries to the Visiting Writers Reading Series. Prerequisites: Creative Writing 201 or 224, a writing sample of three to five poems, and consent of the instructor. Conference. Not offered 2009-10.
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3.00 Credits
One-half or full course for one semester. Independent writing projects. Prerequisite: consent of instructor and division.
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3.00 Credits
One-half course for one semester. Designed for students with no previous dance training, this course provides a foundation for the further study of a variety of dance forms. Principles of alignment, body mechanics, and locomotion will be explored through the practice of movement vocabularies drawn primarily from American modern dance. The course includes an introduction to improvisation and movement composition and a discussion of critical perspectives from which to view contemporary dance performance. Studio.
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1.00 Credits
One-half or full course for one semester. This course builds on concepts and practices introduced in Dance 111. Drawing primarily from the techniques of American modern dance, students will study the essentials of both classic modern and contemporary movement vocabularies and explore elements of choreography. Elementary instruction in rhythm is also provided. With the instructor's permission, students may enroll in the course for one unit, and will carry out an extended examination of contemporary dance performance. Studio.
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3.00 Credits
Full course for one semester. Technical study builds on knowledge gained in basic technique courses in the further exploration of contemporary technique. Students investigate the elements of dance through improvisation and composition, creating movement vocabulary, and building dance phrases. Dances choreographed in class are presented in the end-of-semester concert. Studio.
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3.00 Credits
Full course for one semester. Classic modern and contemporary forms will be the bases from which students develop strength, flexibility, and versatility in movement. Composition will focus on orchestration of traditional structures as a vehicle for solo and group dance works. Students participate in discussion and critique of class work and perform in the end-of-semester concert. Studio.
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