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Course Criteria
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2.00 Credits
F. Scott Fitzgerald’s wife, Zelda, received psychiatric treatment in Baltimore from 1932-1936. We’ll review the transcript of a therapeutic session in which the Fitzgeralds analyzed the deterioration of their marriage with brutal honesty. We will examine Zelda’s depiction of their marriage in "Save Me the Waltz" and Fitzgerald’s counter depiction in "Tender is the Night." Having scrutinized their marriage in his two previous novels, Fitzgerald felt responsible for contributing to Zelda’s mental instability, and yet Fitzgerald continued to dissect their marriage in fiction, regardless of the consequences to Zelda. To compensate for his refusal to help cure Zelda, Fitzgerald depicted his fictional double (a doctor/husband) curing Zelda’s fictional double (a patient/wife). How does Fitzgerald explore the ethics of balancing one’s professional and personal commitments? The course includes a tour of Fitzgerald sites such as Fort McHenry.
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1.00 Credits
Students in this course will study such anti-heroes as "The Watchmen's" Rorschach, as well as anti-villains, like "The Wire's" Omar, and others. We'll dig into their psychologies (and maybe our own) exploring such questions as: What makes a hero "bad," or a villain "good?" What do these characters tell us about ethics and morality? Finally, students will be invited to produce and write about their own anti-heroes and villains.
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1.00 Credits
Students explore Baltimore through a variety of media that tell stories- writing, movies, radio shows, photography, and more. The course will include short stories by Laura Lippman, Edgar Allen Poe, and Ann Tyler, David Simon's "The Wire" and films by John Waters, photography by Aubrey Bodine, class trips and guest speakers. Students will also try their hand at journalism, documentary, and other creative avenues of storytelling.
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1.00 Credits
In this course, we will explore the more passionate work of poets ranging from Shakespeare’s time to the present. Poets will include Donne, Tennyson, Whitman, Emily Dickinson, W. H. Auden, and also the more erotically-charged work of living poets like Richard Wilbur, Kim Addonizio, and Sharon Olds. In addition, each student will write three poems of his or her own and we will discuss these as a class.
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1.00 Credits
Through readings, movies, and trips in Baltimore, we'll explore the genre of travel writing and do some of our own. We'll read and view The Motorcycle Diaries and Into the Wild, explore the Inner Harbor, among other neighborhoods, and write our own collaborative travelogue. The Water Taxi Diaries will include both our observations and our imagined experiences, from Hons to pirates.
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3.00 Credits
An examination of F. Scott Fitzgerald's major short stories in the 1920s and 1930s. We'll analyze Fitzgerald's commitment to exploring the tension between two opposing intellectual movements: literary naturalism (which championed the primacy of environmental determinism) and literary realism (which championed the primacy of free will). We'll trace Fitzgerald's mercurial loyalty to each movement: his abandonment of one school of thought for the other, from one year to the next. In "May Day" he even embraced both movements equally—testimony to his belief that "the test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function". Did Fitzgerald ultimately advocate one school of thought over the other? Or, did he intend simply to stage the debate between them?
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2.00 Credits
This course examines musical theatre in multiple forms: stage, film, TV, live action, and cartoons. We will watch and discuss films in class: "Beatuy and the Beast," "Grease," "Guys and Dolls," "Chorus Line," "Carousel," "West Side Story," John Waters's "Hairspray," episodes of "Glee," and Baltimorean Howard Ashman's "Little Shop of Horrors." Students write lyrics and imitations, and take optional class field trips to theaters in Baltimore and DC to see live musicals.
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2.00 Credits
This class will explore different ways of responding poetically to visual art (painting, photographs, film) and will examine ekphrastic poems alongside the artwork that inspired them. We will examine the possibilities as well as the challenges associated with this sort of writing. Coursework will include in-class writing exercises, take-home assignments, and weekly workshops. A portfolio of original poems will be due at the end of the course.
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3.00 Credits
Prereq: 220.105 and 220.106; Permission required. A study in the reading and writing of short narrative with focus on basic techniques of subject, scene, beginnings and endings. Students do weekly sketches, present story analyses, and write a complete story for workshop critique. Parallel readings from such masters of the form as Henry James, James Joyce, Ivan Turgenev, and others
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3.00 Credits
Perm. Req'd. - Prereqs: AS.220.105 AND AS.220.106 - A study of the fundamentals and strategies of poetry writing. This course combines analysis and discussion of traditional models of poetry with workshop critiques of student poems and student conferences with the instructor. (Formerly 220.141)
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