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  • 76 447: Renaissance Studies

    9.00 Credits
    Carnegie Mellon University

    Shakespeare's plays have been produced and read under all sorts of conditions for more than 400 years. It seems that each generation has a different take on their meanings and implications. Early criticism weighed their ?beauties? and ?flaws,? and more recently their place in intellectual and social life has been analyzed by deconstructive, historical, psychoanalytic, marxist, and feminist commentary. In the seminar, we will read six plays (one comedy, one history, one ?problem play,? one romance, and two tragedies) each accompanied by an essay proposing a particular theoretical position and some related criticism. Students will be honing their skills as readers of some of the most complex and challenging texts in the English language and simultaneously learning to write criticism of their own. This seminar is not an introduction to Shakespeare; it is designed for students who have thought seriously about some of the plays (studied at the college level, acted in or directed productions, or the like) and wish to broaden and deepen their understanding. It is not limited to English and Drama majors. Regular attendance and participation (including occasional in-class writing) are required. Everyone will present a ?position statement? to the seminar and submit two prepared papers. Grads and undergrads will work together every week for three hours; grad students will meet for an extra hour each week to discuss additional readings and prepare conference-ready seminar papers.
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  • 76 450: History of Critical Ideas: Problems of Reading, Interpretation & Spectatorship

    9.00 Credits
    Carnegie Mellon University

    Topics vary by semester. Consult the English Department for the most current description. Example, Fall 2011: "I'm not a lawyer, but?" How many times have you heard this disclaimer, closely followed by a lay analysis of law? This course, an introduction to the cultural study of law for graduate students and advanced undergraduate students, can be seen as an introduction to what goes into the making of such a statement. Where do we get our ideas about law? What do we mean when we say ?law?? What counts as law? How does culture influence law, and law, culture? And to what degree must history condition any answers we might be tempted to give? Students in the course will study works in a range of genres (novels, plays, poems, judicial opinions, pamphlets) and develop methods for investigating ways that law and culture have been made by one another from the 16th-century to the present. Readings will include influential theoretical accounts of law (Aristotle, Hobbes, Kant, E.P. Thompson, Habermas, Hart, Derrida, MacKinnon) and canonical texts in ?Law and Literature,? such as Shakespeare's Measure for Measure. As a counterpoint to the fiercely ahistorical ?law and economics? movement, however, the course will put special emphasis on rooting intersections of law and culture in rich historical context, considering both local and international legal contexts (sometimes in highly technical detail) alongside so-called ?ephemera? of culture. Students will tackle the especially fruitful ?case? of Renaissance Britain before developing their own final research projects, whether on the Renaissance or another period of their choosing. (See dept. for full description)
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  • 76 451: Topics in Language Study

    9.00 Credits
    Carnegie Mellon University

    Seminars focusing on topics in linguistics and discourse studies. Topics will vary by semester. Consult detailed course descriptions available from the Department each semester for details. May be repeated for credit. Fall 2011: The linguistic and social history of the English language from its earliest attestations until the global spread of English and the emergence of the spectrum of ?Englishes? in the modern world. We will single out some of the critical periods of change and study them for their linguistic and sociocultural significance. The periods studied will include: the Germanic background; Old English; English from the Norman Conquest (1066) until the introduction of printing (1476); Early Modern English; Present Day English. We will study short texts characteristic of their time and examine linguistic and sociocultural features diagnostic of their age, social class, and region.
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  • 76 453: Postcolonialism Theory

    9.00 Credits
    Carnegie Mellon University

    Topics will vary by semester. Consult the course descriptions provided by the department for current offerings. Spring 2011: Critic David Attwell once characterized a novel about empire as focused on "that moment of suspension when an empire imagines itself besieged and plots a final reckoning with its enemies." The same might be said of late-nineteenth and early twentieth-century British literature, which was shaped by events taking place outside as well as inside of national borders. Even in the eighteenth and nineteenth centuries, with international trade and slavery supporting the manor house and plantations abroad providing the cotton for British looms, the "England" of English literature spanned the globe. By the first half of the twentieth century, this empire had begun to collapse in upon itself, a process witnessed by writers inside Britain and its colonies. This course will investigate British literature within the international context of global imperialism. Reading Rudyard Kipling's Kim, we will look consider how the adventure novel shaped an imperial relationship to South and Central Asia that lingers to this day. A section on gothic stories takes us into the realm of popular culture with Conan Doyle's and H. Rider Haggard's fiction. As a class, we will trace the torturous path into Self and Other in Joseph Conrad's Heart of Darkness, and outline the links between colonial empire and international war rendered in Virginia Woolf's Mrs. Dalloway. These literary works will be read alongside postcolonial theory, including articles by Edward Said, Chinua Achebe, Anne McClintock, and Gillian Beer.
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  • 76 460: Beginning Fiction Workshop

    9.00 Credits
    Carnegie Mellon University

    Fall 2011: In this course, you will be expected to take your knowledge of the principles and elements of fiction learned in the Survey of Forms: Fiction course and utilize them in workshop discussions, written analysis, and the composition of your own stories. You will read and discuss works by published fiction writers, write and revise your own stories, and actively engage in discussions about the craft and art of fiction writing. Spring 2011: Good writers know how to do two very different things equally well - write like a writer and think like one. Writing like a writer is about craft and means gaining absolute control over your material and your tools. It means, for instance, knowing when to use dialogue, when to summarize discourse, it means concentrating on the specific rather than the vague and abstract. It means anchoring your story in a particular time and place. In this class we will work on narrative voice. Using masterworks to help guide our writing, we will spend the first part of the semester writing stories that imitate the style or narrative voice of several authors. You will have a story due every week. We will workshop several of these stories concentrating our editorial comments on story, development, character, and voice. Your time after mid-semester will be devoted to rewriting and reworking these drafts into accomplished works.
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  • 76 462: Advanced Fiction Workshop

    9.00 Credits
    Carnegie Mellon University

    Fall 2011: Linked Stories ? In this workshop we will write and review stories that have a common linkage within a particular place, a family or a close association or even within a particular idea or philosophical concept. Sherwood Anderson's Winesburg, Ohio is the iconic model of this form and we will read and discuss this classic American novel. Our workshops are to be spirited and well-informed. Thirty-five pages of stories plus a critical paper to be assigned. More than three unexcused absences constitute a failing grade. Final work to be professional and polished. Spring 2011: Advanced Fiction Workshop is an extension of the beginning workshop. We will read books: story collections and novels, and we will also be using "This American Life" as a text. Students will write fiction, produce and record an oral story, and write critical papers in response to a series of reading assignments. Emphasis is on revision, and expanding the scope and depth of one's own material. Student work will be work-shopped, but always in tandem with the discussion of professional work. Writers who don't like a heavy reading load should not take the course.
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  • 76 464: Non-Fiction Workshop: Personal Essay

    9.00 Credits
    Carnegie Mellon University

    This is an advanced writing course that has been specifically designed for the student who wishes to polish and practice the skills of prose writing while pursuing the intellectual challenge of this particular form, the personal essay. Professional writing majors were particularly considered as "clients" for this course. The form of the personal essay did not exist until Michel Montaigne "accidentally" invented it in the 16th Century. His speculative musings, observations of nature and, especially, himself came together to make a unique genre which engages any topic while the actual subject of the essay is the essayist's mind, his or her thinking the subject through. To try to explore one's mind on a particular question has become a favorite activity of writers ever since ? all the way down to Emma Bombeck and Russell Baker. Essays by Montaigne will be read to see how he puts his thoughts together; was it a casual endeavor or a self-conscious craft? For us, the second method. Then, we will turn to more contemporary practitioners to study and enjoy their variations on the model. Meanwhile, students will put their writing skills to the test of this seemingly informal and arbitrary form. Some students will, at first, find it difficult not to make a point, not "to stick to the subject" the object here is to engage the full range of the mind's capacity for speculation and observation, recall and realignment of opinions and information. And, the results of this self-inquiry expressed in disciplined, lively prose. Student essays will be work shopped in class. See http://www.cmu.edu/hss/english/courses/courses.html for full description.
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  • 76 465: Advanced Poetry Workshop

    9.00 Credits
    Carnegie Mellon University

    This course will combine three elements: the reading and discussion of a number of books of contemporary poetry in conjunction with visits by the poets, the writing and workshopping of original poems by class members, and a collaborative mentoring project with the literary arts students at the Pittsburgh High School for the Creative and Performing Arts.
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  • 76 469: Advanced Screenwriting Workshop

    9.00 Credits
    Carnegie Mellon University

    This semester will begin with a review of the fundamentals of screenwriting, including character development, scene construction, dialogue, and story structure. Student work will include exercises that encourage writers to take creative risks with genre, tone, character, and structure, one collaborative project, and two short scripts. We will also view mainstream, personal, and experimental narrative films in both American and international cinema.
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  • 76 471: Topics in Rhetoric

    9.00 Credits
    Carnegie Mellon University

    No course description available.
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