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Course Criteria
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3.00 Credits
For students highly motivated to write poetry, this course offers the opportunity to write both independently and in response to technical issues raised in class. Class time is divided between discussions of modern poetry (using an anthology and a collection of essays by contemporary poets) and workshops on student writing. Close reading and the revision process are emphasized. There are individual conferences, one critical paper, and, as a final project, a small collection of poems. Prerequisites: permission of the instructor is required based on a writing sample. ENG 260 is generally required. (Staff, Spring, offered alternate years)
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3.00 Credits
This course offers a workshop in the fundamentals of writing the motion picture. Weekly writing assignments move students through a process of script development-from brainstorming and the movie in a paragraph to the treatment/outline, beat sheet, the creation of a scene, and the first act. Students share work and engage in a variety of exercises designed to help each tell his or her stories. Prerequisites: ENG 230 and/or ENG 233. (Holly, offered annually)
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3.00 Credits
An intensive workshop devoted to the creation and critiquing of student fiction, this course is suitable for students strongly committed to fiction writing. Students are expected to produce a portfolio of polished stories. Prerequisite: Permission of instructor, based on writing sample. ENG 260 is generally required. (Conroy-Goldman, Spring, offered annually)
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3.00 Credits
This is a writing course in creative nonfiction designed for English majors or others seriously interested in working to develop their own voices in the medium of the personal essay. Students read and discuss essays by major contemporary American essayists. They also read and discuss each others' essays in a workshop with an eye toward revision. Participants should be prepared to write one essay a week. Prerequisite: permission of instructor, based on a writing sample. (Staff, Spring, offered annually)
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3.00 Credits
Aside from its aspirations to being medicine or a science, psychoanalysis constitutes a powerful theory of reading, which, in its emergence at the beginning of the 20th century, corresponds to the revolution in interpretation which continues into our own time. The aim of this course is to study this theory of reading in order to show how it is the foundation of such interpretive concepts and procedures as close reading, text, and the intentional fallacy, as well as being both the source and critique of the modern handling of such interpretational elements as image, myth, and meaning. (Holly, offered alternate years)
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3.00 Credits
This course explores the European encounter with the non-Western world; in the encounter with that which is alien, an exploration of Western culture and the Western psyche takes place. Conrad's Heart of Darkness is the archetype of this encounter. In the hundred years since it was written, Western and non-Western writers have constructed versions and counter-versions of it. Colonialism, identity, love, religion, freedom, justice, the nature of the self, and the complex character of western civilization itself are all subjects. Students read each fiction by the light of its own structure and intent as well as in dialogue with Conrad.
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3.00 Credits
Black women writers have initiated an important line of inquiry that is perhaps best represented by the publication of several reconstructions of slavery in fiction of slavery in fiction. In these texts, black women writers represent the desires of slaves, and, at a fundamental level, the course examines the relationship between power and desire and the suggestion that desire itself cannot be evacuated of power relations. Taking slave desires of the other, the course compares these desires to contemporary gendered and sexual normativity. (Staff, offered annually)
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3.00 Credits
The history of American independent film runs parallel to the origin, development and consolidation of the Hollywood study system in the 1920s and 1930s through to the contemporary "independent" production wings of major studios, such as Miramax. This course traces this history beginning with the marginalized cinema of the 1930s B-movie studies and the "race cinema" of Oscar Micheaux. In the 1950s and 1960s, independent film was a powerful challenge to the calcified studio system of the postwar period, a prelude to the recent transformation in studio production resulting from the development of contemporary independent cinema, showcases such as the Sundance Film Festival, and the availability of digital technology. (Ly on, offered occasionall
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3.00 Credits
This course is about ways of defining, analyzing, thinking about, and understanding one of the highest and most concentrated forms of verbal-indeed, of any-art. Students study a number of poetic types, as well as great individual works, emphasizing forms, themes, and traditions. (Weiss , offered occasionally)
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3.00 Credits
UlyssesThis course is an intensive examination of the central novel of literary modernism. Enrollment is limited to 17 students; each student presents a single chapter of the novel to the class. (Staff, offered alternate years)
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