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  • 76 359: Planning and Testing Documents

    9.00 Credits
    Carnegie Mellon University

    We often send the documents we produce out into the world, having worked hard on them and hoping that they achieve the purposes that we intend for them. In some situations, this suffices. In others, however, we may need more than hard work and hope?we may need to know that a document is working: Are thousands or even millions of people going to be using the document? Can they comprehend it? Can they follow its directions safely? Are they fearful or confident as they do so? In Planning and Testing Documents, you will study and practice methods for providing valid and reliable answers to these types of questions, both in the lab?before a document goes out the door?and in the field?after a document is in the world. Learning about the problems readers have using documents can be a rewarding experience for professional writers. And the reasons for doing so are several: Various studies have shown that reader feedback helps professional writers optimize the effectiveness of their documents, that professional writers themselves are unable to predict the problems readers experience, and that writers become more aware of their audiences and improve as writers when they are regularly confronted with reader feedback. Topics will include both basic issues that pertain to all empirical research methods'sampling, response rates, validity and reliability, the design of questionnaires, scales and surveys, the ethical issues involved in doing research with people?as well as methods specifically relevant to planning and testing documents, such as subject matter expert (SME) observation and interviews, think-aloud usability testing (you?ll learn more than the ?crash course? basics that you learned in your introductory professional writing course), plus-minus testing method, designing comprehension tests, and other reader-focused evaluation methods. (See Dept. for full description)
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  • 76 360: Literary Journalism Workshop

    9.00 Credits
    Carnegie Mellon University

    Literary Journalism is a form whose tradition dates back to Dickens. It takes as its subject "ordinary people," and reveals lives fully, implicitly or explicitly making connections between the personal, political, and historical. The course will acquaint you with some classics of the form, along with contemporary work by writers who are writing this "literary" journalism using all the tools of the fiction writer. We will read books by writers who have spent considerable time in the field as researchers to bring us stories of so called ordinary people who might serve to enlighten or reveal something about the world. Students will be asked to do 5 hours of field research per week in addition to their writing and reading assignments. All students will also produce an oral recording one of these assignments.
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  • 76 362: Reading in Forms: Nonfiction

    9.00 Credits
    Carnegie Mellon University

    The theme and texts of this course has yet to be decided, but students can expect to read several books of good non-fiction, all of which will be discussed with an eye both on content and form. Written responses to each book will be required, as will a series of oral presentations and dramatic performances. Also required is one final presentation where the student will be asked to create their own non-fiction project after a semester of working in the community as a field researcher. The course should appeal to those who are interested in literary journalism and essay writing.
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  • 76 363: Reading in Forms: Poetry

    9.00 Credits
    Carnegie Mellon University

    This course will focus on poetry writing and poetry criticism. We will read and discuss a broad range of authors who publish poems and significant prose writing about poetry. In addition to reading early issues of journals like Poetry, we will examine several print and electronic poetry forums, letters to the editor, reviews, anthology introductions, and blogs. Students will work individually and collectively, charting the evolution of poetry and its relationship to audience and public spaces. Students are expected to submit weekly posts to Blackboard, make one presentation, and write three papers.
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  • 76 364: Readings in Forms: Fictions

    9.00 Credits
    Carnegie Mellon University

    Spring 2011: This is a readings course in contemporary fiction and contemporary film. Using a dozen master texts, we will examine the presumption that 'the book is almost always better than the film.' Is this true or do we have a personal bias towards the original source? We will examine how a movie develops beyond the notions of fidelity to achieve a separate and satisfying entity. Students will complete a series of exercises to enhance their understanding of film and fictional narratives. We will see how adaption demonstrates what the medium of film can and cannot do as well as the limitation of both forms. Our concentration will be on narrative techniques in presenting the elements of fiction and how these same techniques are translated and adapted when the story is told on the silver screen. Texts include: Precious, LA Confidential, Kiss of the Spider Woman, The Remains of the Day, Atonement, Slumdog Millionaire, The Unbearable Lightness of Being, Girl Interrupted, Shawshank Redemption, and Beloved.
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  • 76 365: Beginning Poetry Workshop

    9.00 Credits
    Carnegie Mellon University

    In this course, you will be expected to take your knowledge of the principles and elements of poetry learned in the Survey of Forms: Poetry course and utilize them in workshop discussions, written analysis, and the composition of your own poems. In addition, readings of books by other poets will be required, along with participation in a book-making project.
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  • 76 368: Advanced Academic Writing

    9.00 Credits
    Carnegie Mellon University

    Starting in the late 1960s, there are several noticeable shifts in the types of horror films being made. While the "monster movie" remained a popular cinematic staple, several new and more graphic subgenres of horror began to emerge. This course will examine respective films from the "slasher," (Halloween (1978), The Texas Chainsaw Massacre (1974)), "zombie," (Night of the Living Dead (1968) Dawn of the Dead (1978)) and "supernatural" (The Exorcist (1973) Rosemary's Baby (1968)) subgenres. While easily dismissible as exploitative, "B" movies, recent critics have argued that films like Friday the Thirteenth (1980) and Dawn of the Dead (1978) present subversive critiques of the American mainstream; some even argue that slasher films contain a feminist subtext. Others argue that such films simply reflect paranoid and xenophobic ideals of a post-Viet Nam, neo conservative America. We will be looking at these films to consider what they might tell us about American culture and its fears in the late twentieth century. This course seeks to examine key debates surrounding these texts and their impact on American popular culture. Finally, we will examine the evolution of these subgenres into more recent films like Scream (1996) and The Blair Witch Project (1999), and ask why it is that Hollywood has felt the need to remake many of these "B" films into big budget blockbusters. Please note this is an "R" rated class in that we will be viewing and discussing films which deal with frank and graphic depictions of sexuality and violence. Required Text: Clover, Carol. Men Women and Chainsaws. Princeton, NJ: Princeton UP, 1992. (ISBN 0691006202)
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  • 76 370: Independent Study in Literary and Cultural Studies

    3.00 - 18.00 Credits
    Carnegie Mellon University

    An Independent Study course is a course taken with faculty supervision that goes beyond the courses offered in a particular area of interest. It should not duplicate a course offered in the regular schedule of classes. A student wishing to take an independent study needs to locate a faculty member whose research interests are close to the area of proposed study and meet with the faculty member to discuss whether it is something the faculty member is interested in doing. The department requires that the student and instructor submit a written contract (available in the English Department) detailing the expectations (description of course of study, readings, how often the student/faculty member will meet) and requirements for the completed independent study project (number length of papers) and a time-line for completion of the work. You should think of this as developing the equivalent of a detailed course syllabus/schedule, and typically involves development of a bibliography of readings.
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  • 76 371: Topics in Rhetoric

    9.00 Credits
    Carnegie Mellon University

    In this course in applied rhetoric, we will focus on controversy as our object of study. To help us explore the complex rhetorical, social, and cultural aspects of public and professional disagreements, we?ll examine three case studies in different domains?a scientific controversy, an arts controversy, and a political controversy. We will ask the following kinds of questions: What is a controversy? How can we define and distinguish different types? What are the real (not necessarily declared) points of contention? What genre and language practices are common? Prominent? What do the parties gain by participating in a controversy? What are the stumbling blocks on the way to a resolution? How do factors and effects differ across different types of controversy? In analyzing these controversies and their related contexts, we will draw on rhetorical theory and look closely at the genre and language practices involved. We will approach theory pragmatically?as a source of conceptual tools that can help us analyze actual case studies. In the process of applying these tools, we will also refine and adjust the tools themselves. Our goals will be to understand controversy as a rhetorical practice, to consider methods for participating effectively in professional and public controversies, and to modify existing theory to better describe the concepts and elements involved. We?ll use the case studies as common ground for developing tools that students will then use in individual projects in which they analyze and consider options for addressing a controversy of their choice.
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  • 76 372: Introduction to Journalism

    9.00 Credits
    Carnegie Mellon University

    In this introductory class, taught by a working journalist, students will learn the fundamental skills of reporting, writing and copy editing. We?ll start with the basics ? judging newsworthiness, conducting research and interviews, then organizing the information into a concise, clear, accurate and interesting news story. Because the key to learning to write effectively is to practice the necessary skills, class emphasis ? and much of your grade ? will be based on seven writing assignments involving current events and covering various types of news writing. Through readings, assignments and class discussion, we?ll tackle questions such as: What makes a story newsworthy? How does a reporter decide which points to emphasize? What are effective techniques for a successful interview? How does a journalist turn pages of scribbled notes into a coherent news story? We?ll do a lot of writing, but we?ll also examine issues and trends affecting journalism today. We?ll cover at least two live events and hear from local professionals about working in print, broadcast and public relations. We?ll also look at how newer mediums ? such as blogs, the internet, and cable news ? shape and influence news reporting.
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