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Course Criteria
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3.00 Credits
The workshop will be organized around two assumptions: a poem is a made thing, an idea or feeling or experience which is then shaped by the writer, and that no good poem is an accident. Through our readings and workshop we will explore the various ways and methods poets use to define and organize their world, and culture. Students will be required to write and revise poems, leading to a portfolio of revised work as a final project, (12-15 poems), keep a writer's journal, write response papers to the books we read. As one of my ongoing passions is the examination between poetry, performance and theatre, this will be one of the issues we will examine during the semester.
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3.00 Credits
A poetry workshop for students in the MFA Program.
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3.00 Credits
This course will serve as a graduate-level introduction to the theory and to the practice of literary translation. We will read an eclectic selection of essays by leading practitioners throughout time (Dryden, Goethe, Benjamin, Nabokov, Jakobson, Paz, Venuti, and so on) as well as some prominent examples of the craft, especially via anthologies of world poetry in translation Students' translation projects can be in either poetry or prose or both. Other types of hybrid projects are possible, too. Critical papers and class presentations are required. Translators of any foreign language are welcome. Fluency is not expected.
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3.00 Credits
Writing about a life, giving a shape to something called a life his is a perpetual concern of writers in different parts of the world, and of many different kinds of writers, historians, novelists, psychologists included. Life-writing seems intimately related to theology, as we may see in the New Testament, as in the stories of Moses or Buddha, and in the meditations of Augustine in the fourth century or the Sufi mystic al-Ghazali in the twelfth century. Travel writing (including stories of discovery seem largely life-writing in masquerade, while history engages in extensive accounts of individual life and experience. Poets and novelists have long played with writing lives, and presenting individuals engaged in life-writing, wherein (as in theological discourse) the life is a paradigm and an emblem. The life may involve seeking, wandering through a labyrinth or wilderness, searching for some desired object or relief in alienation and loneliness. The exile or wanderer may turn to autobiography, yet such life-writing is perilous for the writer, the narrator inviting decoding him-/ herself while offering us various tropes and devices endeavoring to conceal as well as to reveal. Our study includes narratives of antiquity and of modern times, of the East and the West. Starting with the most ancient of surviving presentations of lives, we pursue highly conscious and aesthetically, politically and psychologically shaded biographies, as in the work of Suetonius and Plutarch writing of emperors, politicians and literary men. We will see how effectively such lives and representations became part of Renaissance culture, following for example the personage of the conspirator Catiline from Cicero's speeches through Ben Jonson's play. Poets like Horace develop the autobiographical impulse, seen and felt very differently in St Perpetua and St. Augustine. Spiritual and temporal observation of self and selves are effected in Arabic poems, and in the meditative writings of al-Ghazali In the Early Modern period in the West, personal reflection becomes vital and disconcerting, as we see in (selected) Essais of the questioning aristocratic Montaigne and the dramatic Grace Abounding by John Bunyan, tinker of Bedford. Boswell in his Journal and in his Life of Johnson exhibits the tensions of being a 'self' and writing a 'life' of another. The Novel has long been a home for redefining and exploring the 'self' as we see in the Greek Calirrhoe by Chariton and in the novels of the 17th and 18th centuries. In the context of Descartes and Locke we see that the self is taxed with maximum loneliness--as is worked out in novels like Defoe's Robinson Crusoe. The contradictions and imitative qualities of the 'self' are almost frighteningly displayed by Diderot's Le Neveu de Rameau. The 20th century is represented by Arabic and Eastern narratives, some drawn from 'real life,' some fictional, including Huda Shaarawi's Harem Years, and Daughter of the River by Hong Ying. We shall also discuss the new concepts and terminologies introduced by Western psychology as if universals, taking as a major case in point Sigmund Freud's Dora (Bruchstück einer Hyesterie- Analyse)
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3.00 Credits
This course will discuss some of the techniques of non-fictional writing--from the basic journalistic news story to the magazine feature to the personal essay.
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1.50 Credits
For students in the M.F.A. program: a series of workshops on submitting manuscripts or publication, finding an agent, and applying for jobs in the academy and in publishing. Informational sessions will be followed by workshops in which students will have their submission letters, vitas, and job application letters reviewed. The sessions will be arranged at a time convenient to all the participants.
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1.50 Credits
The literature, philosophy, and practice of literary magazines.
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3.00 Credits
Introduces students to research techniques, literary theory, and the scholarly profession of literature. Frequent guest lectures by the English faculty will enable students to become acquainted with research activities taking place in the department.
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3.00 Credits
A course designed to improve spoken English of non-native speakers, at the intermediate level, with a specific goal of increasing communication skills for teaching, research, and discussion purposes.
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3.00 Credits
This course is primarily designed to improve spoken English of non-native speakers, at the intermediate level, with a specific goal of increasing communication skills for teaching, research, and discussion purposes. Mastery of English pronunciation, vocabulary, idiomatic expression, and sentence structure will be the focus. Emphasis will be placed on learning to command clear and accurate spoken English for the purpose of classroom instruction and participation. To this end, emphasis will be placed on phonology, stress placement, intonation, juncture, accent, tempo, general pronunciation, linguistic posture and poise (kinesics), conversational diction, presentation of material, handling questions, and other matters of instruction related to Language Arts.
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