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  • 76 099: English Composition

    3.00 Credits
    Carnegie Mellon University

    No course description available.
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  • 76 100: Reading and Writing for an Academic Context

    9.00 Credits
    Carnegie Mellon University

    76-100 is an academic reading and writing course for multilingual students, especially those who are not native speakers of English or who consider English to be their weaker language. The course, designed as a prerequisite for 76-101, emphasizes reading comprehension strategies for reading a variety of text types in English (e.g., journalism, textbook selections, popular press arguments, and academic journal articles). Throughout the semester, students use these sources to write summaries and short position papers. The course introduces students to readers' expectations for North American rhetorical style at the sentence, paragraph, and whole text or genre levels. Within the course we discuss explicit genre and linguistic norms for writing in academic English so that writers can connect with their readers. Students who take this course qualify through an online placement test that is administered through the university prior to the fall semester. (All sections are offered MWF). Each 76-100 course is structured by the reading and writing objectives of the course as well as a vocabulary for writing in English, but some courses present different themes (or content) in their readings.
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  • 76 101: Interpretation and Argument

    9.00 Credits
    Carnegie Mellon University

    76-101 introduces first-year students to an advanced, inductive process for writing an argument from sources. Because the course is based upon empirical research about professional academic writers, students can expect to learn expert practices for authoring their own arguments that contribute to an existing community of authors. Because reading and writing are inseparable practices for academic writing, students will read a variety of texts so that they can explore and critically evaluate a single issue from multiple perspectives and from different disciplinary genres. Students can expect to learn methods for summarizing, synthesizing, and analyzing arguments within that issue so that they may contribute an argument of their own. The course is also geared toward helping students understand the requirements of advanced college-level writing. Our students are typically very accomplished readers and writers, and we are eager to push their accomplishments toward greater excellence. For this purpose, students will build upon their composing knowledge by reflecting and thinking strategically as they plan, write, and revise their own texts. Ultimately, they will develop critical reading, rhetorical and linguistic practices for analyzing and producing texts within the context of an academic community. Each section of 76-101 is structured by the same objectives and core assignments. There is a core vocabulary and set of heuristics that all sections teach. However, students may find particular issues more interesting or appealing than others?we encourage students to pursue their interests, but we also ask that students engage any 76-101 course with intellectual curiosity. Due to the limits of our schedule, we are unable to meet each student's individual preferences for course topics, but we do offer a wide variety from which to choose.
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  • 76 143: Freshman Seminar

    9.00 Credits
    Carnegie Mellon University

    Topics vary by semester. Spring 2011: Performance studies emerged in the 1980s as a new, interdisciplinary field that combines interpretive strategies and analytic methods from theatre studies, anthropology, linguistics, and critical theory. Gender studies focus on how we understand the world around us through masculinity and femininity as variable, cultural constructions. This seminar will introduce students to key readings in these two interdisciplinary fields and give them practice in collecting and interpreting data about embodied, gendered performances.
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  • 76 144: English Freshman Seminar

    9.00 Credits
    Carnegie Mellon University

    Topics vary by semester. Fall 2011: How does poetry engage music, painting, cinema? How do other art forms influence poetry? This seminar will explore contemporary forms of Ekphrasis: writing which is in dialogue with other artistic mediums. We will explore how current poets imitate, translate and process other art forms as well as how those forms speak back to poetry (For example we?ll discuss the recent movie, Howl, in relationship to Allen Ginsberg's poem of the same title.) The semester will be divided into sections of 1. poetry and music, 2. poetry and art, and 3. poetry and film, and conclude with student projects inspired by the coursework and discussions. Seminar activities will include student led presentations, occasional creative writing exercises, and frequent encounters with music, art and cinema.
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  • 76 145: Freshman Seminar

    9.00 Credits
    Carnegie Mellon University

    Topics will vary by semester. Consult the course descriptions provided by the department for current offerings. Fall 2011: What does it mean to be Indian outside of India? How is it possible to ?live in the hyphen? as both British and Pakistani? In this course we will look at the writings and experiences of South Asians (people from the Indian subcontinent), living in such places as the United States, Britain, the Caribbean, the Middle East, and East Asia, who construct what Salman Rushdie calls ?imaginary homelands.? We will examine the histories of migration and study how the experience of living between two continents has been theorized. In addition to examining the diaspora's past, the course will investigate present day South Asian Diaspora cultures including popular culture, film, music, dance, art, theater, and literature. Possible readings include works by V.S. Naipaul, Salman Rushdie, Jhumpa Lahiri, Hanif Kureishi, Meera Syal, Vijay Prashad, and Michael Ondaatje.
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  • 76 213: 19th Century British Literature

    9.00 Credits
    Carnegie Mellon University

    Topics vary by semester. Consult the course descriptions provided by the department for current offerings. Example, Summer 2009: This class will explore Gothic literature of the Victorian period in England (1837-1901). Though the Gothic as a genre was arguably played out by the 1820s, its conventions continue to permeate literature, appearing in penny dreadfuls, ghost stories, sensation fiction, detective stories, adventure novels and science fiction. We will read stories in which England, explosive with expansion, progress and industry, is represented as a site of degeneration and decay. We will consider how xenophobia, urban development and industrialism, science and medicine, empire, sexology and the New Woman shape representations of the Gothic. These stories of the supernatural fly in the face of science and rationality. Our texts will include: James Malcolm Ryner's penny dreadful Varney the Vampire, or the Feast of Blood (1847-48), Emily Bronte's Wuthering Heights (1847), Edward Bulwer-Lytton's The Haunters and The Haunted (1859), some short ghost stories by Elizabeth Gaskell and Charles Dickens, H. Rider Haggard's She (1887), H.G. Wells? The Island of Dr. Moreau (1896) and Bram Stoker's Dracula (1897).
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  • 76 221: Studies in Classical Literature: Books You Should Have Read By Now

    9.00 Credits
    Carnegie Mellon University

    It may seem more and more difficult to get a good classical, liberal education these days. The demands of professional training force many of us to skimp on our understanding of major artistic achievements. So, this class is for those people who should have read some of the best books around, but haven't managed to yet?books you should have read by now. Kurt Vonnegut's character Kilgore Trout sings the praises of Dostoevsky's The Brothers Karamazov, pointing out that it contains everything you need to know about life. He then ruefully adds that unfortunately that's not enough anymore. It may not be enough, but it might be a place to start. Each book will be considered in itself for whatever it might offer by way of understanding the world, then and now. Each one can be seen as a useful foundation point for understanding an important period of history (Machiavelli and the Renaissance, for example). Finally we shall use the idea that literature is equipment for living as a way of understanding and evaluating our experiences.
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  • 76 234: 20th Century American Literary and Cultural Studies

    9.00 Credits
    Carnegie Mellon University

    The "century of struggle" is historian Eleanor Flexner's term to describe the long period of American women's efforts for enfranchisement and political participation. Beginning in 1848 with the Seneca Falls Convention, the first "public debut" of the women's suffrage movement, the "century of struggle" spans the late nineteenth and early twentieth centuries through the passage of the Nineteenth Amendment in 1920 and Depression-era intersections between feminism and radical politics in the 1930s. This course frames the lived realities of women's lives in the context of women's writing; we will examine how American women writers reflect and, in many cases, affect the outcome of historical progress during this period, beginning, for instance, with seminal nineteenth century figures like Harriet Beecher Stowe and Louisa May Alcott. And while our study of this era will feature several names familiar to the American literary canon ? Kate Chopin, Edith Wharton, and Willa Cather, for example ? it will also include lesser-known figures, like Agnes Smedley, whose writings intervene in communist-feminist politics, and Polish-American author Anzia Yezierska. Ultimately, this course will chart the progress of women's literature (from nineteenth century sentimentalism, to twentieth century realism and, finally, the high modernist turn) alongside progressive changes simultaneously experienced in women's lives. Our secondary readings will draw from political works (suffragist tracts, for example), historical writing, and criticism.
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  • 76 239: Introduction to Film Studies

    9.00 Credits
    Carnegie Mellon University

    This course will serve as an introduction to the history and theory of film. It will cover the history of film from 1895 to the present, focusing on the technological, industrial, and aesthetic development of the medium. It will also introduce students to significant currents of film theory from auteur theory, to psychoanalytic criticism, to recent developments in the philosophy and historiography of film. We will closely trace the development of the American film industry in its relation to other national cinemas, beginning with the earliest films of Thomas Edison, the brothers Lumi?re, and other pioneers of the medium. We will also look at (among other things) examples of classical Hollywood production, Italian neorealism, The French new wave, new German cinema, The new Hollywood, Bollywood, the American blockbuster, new Asian cinemas, and the recent, amorphous category of American ?indie.? In doing so, we will attempt to define and interrogate the notion of a national cinema. In addition to acquiring overall knowledge of film and film theory, students will develop the skills necessary for critical analysis of cinema and media arts.
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