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Course Criteria
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3.00 Credits
An introduction to the theory and practice of literary translation. In addition to reading translations and discussing the pleasures and problems of translation, students will undertake individual projects in translation of poetry and fiction of their choice. Open to sophomores, juniors and seniors with reading competency in one or more languages in addition to English. Previous experience in creative writing is desirable, but not required. (Sue Standing)
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3.00 Credits
An introduction to poetry writing and poetics. Student writing, as well as issues of craft and technique, will be discussed in class and in individual conferences. Some experience in writing poetry is preferred, but not essential. (Sue Standing)
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3.00 Credits
This course is designed to give students practical knowledge of the basics of craft as well as insight into the creative process. Workshop participants will study and practice the techniques of writing the character-driven story through guided exercises. Open to sophomores, juniors and seniors with permission of the instructor. (Deyonne Bryant)
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3.00 Credits
Combines practice in expository journalistic writing with basic reporting skills and discussion of the cultural work of journalism. The focus in the class will be on depth rather than timeliness, on rewriting and revision rather than writing quickly. Students should expect to publish some of their work in an appropriate forum. (Paula M. Krebs)
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3.00 Credits
An in-depth historical survey of British and U.S. children's literature focused on appreciating the texts as literature, but also addressing their responsiveness to children's needs and interests and other cultural contexts. Readings include Alice's Adventures in Wonderland, Little Women, The Secret Garden, The Tale of Peter Rabbit, Charlotte's Web, Where the Wild Things Are and much more. (Beverly Lyon Clark) Connections: Conx 20012 Reading Children
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3.00 Credits
What is performance From the wave of a hand and the way we hold utensils to our intonation patterns and use of vocabulary, what often appear to be "unconscious" behaviors actually play outas signifying performances for spectators on the stage of everyday life. Together, we will re-create, revise, expand and contextualize our own performances and "stage" them-everywhere buin the theatre. Readings in philosophy, performance theory, art history, theatre and current events will help to foster a climate of heightening and transforming the details and language of autobiography. (Charlotte Meehan) Connections: Conx 20009 Performing into Theory
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3.00 Credits
Conflict. Paradox. Mystery. Suspense. Gossip. Poetry. Lies. All the ingredients of great plays. From dreams, memories, coupons, newspaper articles, rare books, overheard snippets of conversation, visual images and sounds, you will be encouraged to create fragments of dramatic writing (i.e., dialogues, monologues, settings) unique to your own imagination and temperament. Then our focus will shift to revision and expansion-deepening character, refining language and building a dramatic arc. Readings of contemporary plays, theory, manifestos and reviews will supplement our creative work. (Charlotte Meehan)
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3.00 Credits
This course focuses on interrelations between creative writing and visual imagery. Following explorations of writers' responses to visual phenomena (including painting, sculpture, photography, artists' books, scientific imagery and other media) and artists' responses to language, you will have the opportunity to write about and to create multimedia pieces and to collaborate with others, both inside and outside the class. This course is designed primarily for creative writing students, but artists, musicians, dancers, filmmakers and others interested in multimedia projects incorporating texts are also encouraged to enroll. (Sue Standing) Connections: Conx 23012 Visualizing Information
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3.00 Credits
This course introduces current debates in the field of English studies. It tackles a variety of ways of approaching literary and cultural texts, including film, from the Freudian to the feminist to the postcolonialist. What difference does knowledge about the historical period or cultural context in which a text was written make to the way we read it Does knowing the author of a text change our reading of it Is film authorship different from literary authorship Does our own class, race or gender affect our reading We will read theory about language and representation, race in literature and the economics of literary and cultural production, and we will test these ideas on literature and other kinds of texts such as advertisements, film and other visual media. (Claire Buck, Shawn Christian, Paula M. Krebs)
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3.00 Credits
The course will examine the development of early cinematic technologies in the late 19th century up through their maturation into narrative films in the 1910s and 1920s. Focusing primarily on silent films from the United States, England, France, Germany and Russia, the course will introduce students to a wide range of issues including the shift in aesthetics, visual grammar and narrative structure guiding the transition from a "cinema of attractions" to the silent "feature film." In additioto addressing aesthetic and narrative dimensions of early cinema, the course will introduce students to the work of filmmakers such as D.W. Griffith, Cecil B. DeMille, Buster Keaton, Oscar Micheaux, Charlie Chaplin, F.W. Murnau, Fritz Lang, Rene Clair, Sergei Eisenstein and others. It will also examine important moments in early U.S. film exhibition such as the nickelodeon and the arrival of the movie palace, as well as the nascent commercial dimensions of the emerging international film trade. (Josh Stenger)
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