It’s that time… to start thinking about next term’s courses–
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DePaul University English Department
Undergraduate Bachelor of Arts in English
2013 Winter Schedule & Course Descriptions
**NOTE: COURSES ARE SUBJECT TO CHANGE
**NOTE: DECEMBER COURSE IS LISTED AT THE END OF THIS SCHEDULE
**Lincoln Park Campus unless otherwise noted, LOOP* next to course time
|ENG 201||Creative Writing||M. Turcotte
MW 8:00-9:30, LPC
|ENG 211||English Studies: Language and Style||R. Meyer||TTH 2:40-4:10, LPC|
|ENG 218||Reading and Writing Fiction||W. Ewell||MW 1:00-2:30, LPC|
|ENG 219||Reading and Writing Poetry||K. Rooney||MW 11:20-12:50, LPC|
|ENG 220||Reading Poetry||B. Johnson-Gonzalez
|MW 2:40-4:10, LPC
TTH 2:40-4:10, LPC
MW 11:20-12:50, LPC
|A comprehensive introduction to English and American poetry, poetic forms and meters, and the vocabulary of poetic study. WRD 103 or HON 100 is a prerequisite for this course.|
|ENG 221||Reading Prose||C. Goffman|
|MW 8:00-9:30, LPC
TTH 1:00-2:30, LPC
MW 11:20-12:50, LPC
|An introduction to close analytical reading of the fundamental prose genres that students will encounter in the English major, for example short stories, novels, folktales, literary nonfiction, and criticism. Students will study examples drawn from the history of prose as well as contemporary narrative.WRD 103 or HON 100 is a prerequisite for this course.|
|ENG 228||Introducing Shakespeare||M. Williams||TTH 11:50-1:20, LOOP|
|L. Dietz||TTH 4:20-5:50, LPC|
|Introduction to the basic structures and conventions of representative plays by William Shakespeare, emphasizing film and stage interpretations. May not be taken by students who have completed ENG 328 Shakespeare.|
|ENG 231||The Gothic||J. Conary||MW 1:00-2:30, LPC|
|This course will serve as an introduction to Gothic narratives. We will begin our exploration of the Gothic in the 18th-century with Matthew Lewis’s scandalous and thoroughly bizarre novel, The Monk. We will then move on to such Gothic classics as Mary Shelley’s Frankenstein, Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, Bram Stoker’s Dracula, and Daphne du Maurier’s Rebecca. Throughout the course, we will look at each text in its historical context, but we will also learn about popular methods for interpreting Gothic narratives. We will conclude the course by practicing our interpretive skills on one of the most popular incarnations of contemporary Gothic: Buffy the Vampire Slayer.|
|ENG 232||The Romance||E. Selinger||MW 11:20-12:50, LPC|
|Introduction to the genre of the romance. Emphasis on characteristics of the genre in particular historical moments. Variable emphasis on particular historical periods or topics.|
|ENG 245||The British Novel||L. Aydelotte||TTH 9:40-11:10, LPC|
|ENG 265||The American Novel||G. Smith||MW 9:40-11:10, LPC|
|English 265 is both a brief survey of American fiction as well as a sampling of canonical American novels, from the late 19th century to the present. The course practically serves as an introduction to the core courses within the English Department’ s American literary curriculum. As a survey course, English 265 proposes to chart the emergence and artistic development of the American novel as a unique product of America’ s pluralistic and multicultural society. The individual novels will thus be read as exemplary literary achievements, within the genre of long fiction, that respond to several key questions about the American experience: For example, what is an “American” novel? Moreover, how can we historically distinguish American fiction, in its multiple forms and cultural values, from its English-speaking European counterparts? Finally, as an introductory course, the novels, collectively, will help frame the American canon as a means of (re)defining the American literary curriculum.
Course grades will be determined by the midterm and final examinations (20% each), two analytical expository essays, four pages in length (20%), and regular classroom attendance, preparation and participation (20%). Required readings: As I Lay Dying, Faulkner; Winter in the Blood, Welch; Washington Square, James; Goodbye Columbus, Roth; and Our Nig, Wilson.
|ENG 275||Literature and Film:
Not Your Usual Shakespeare
|W. Fahrenbach||TTH 4:20-5:50, LPC|
|This section of ENG 275 looks at literature in both print and film. It concentrates on some of Shakespeare’s plays, as we read them, usually as part of an English course, and also as we see versions of them, usually at the movies. At one time or another, for example, almost everyone has read Romeo and Juliet. We’ll talk about the printed version of the play (written around 1591-95 and since then always in-print), and then we’ll go on to West Side Story (Broadway musical, 1957; film, 1961) and Shakespeare in Love (1998) – altogether, three closely related but clearly different takes on the same narrative.
This section of ENG 275 aims at understanding what makes versions of Shakespeare the same and what makes them different. ENG 275 satisfies an Arts and Literature requirement in Liberal Studies. This course is not repeatable.
|ENG 275||Literature and Film:
Portraits of Power & Madness
|K. Mikos||TTH 4:20-5:50, LPC|
|This course will look at literary works and film adaptations that document the relationship between the rise to power and the plunge into madness. We will decipher how works of literature and films represent power and madness as interrelated concepts, how the reader/viewer is cued in to characters’ psychological states, and how this theme has been examined by theorists from political, psychological, philosophical, and artistic perspectives. This course is not repeatable.|
|ENG 275||Literature and Film: American Classics||M. Williams||TH 3:10-4:40, LOOP|
|We study five of six noted American Literary works. We start with three dramas by Tennessee Williams which have been turned into movies. We then do the same with two or three works from the following list of short stories and novels: The Great Gatsby, Of Mice and Men, The Color Purple, The Killers, Brokeback Mountain. Death of a Salesman is a possibility for the winter quarter.
We examine the way themes and ideas are managed when the art form changes from literature to film. We study a variety of issues—some peculiarly American and some not—such as racial injustice, the American Dream, addiction and degeneration, the oppression of females, and the struggle for identity. We also focus on a wide range of problems involved in making serious movies from good literature.
A 900 word paper is due midway in the course and a second at the end. We have a take-home midterm (all essay questions) and an in-class final. We have a short objective quiz upon the completion of each work.
|ENG 275||Literature and Identity: Black Cultural Criticism||D. McNeil||MW 4:20-5:50, LPC|
|ENG 281||World Literature Since 1500||B. Niro||MW 9:40-11:10, LPC|
|Introduction to examples of world literature since 1500. Focuses primarily on explorations of self and the world in drama, poetry, and the novel from the Renaissance through the Modern eras.|
|ENG 286||Topics in Popular Literature:
Reinventing the American West
|A. Ewell||TTH 8:00-9:30, LPC|
|ENG 288||Autobiography and Biography||G. Diliberto||MW 4:20-5:50, LPC|
|Make it new! That was the rallying cry of Jazz Age artists and writers who overturned the old style of storytelling (think Charles Dickens) and painting (think John Singer Sargent) to forge radical new modes of expression (think Hemingway and Picasso). Modernism, as their movement was known, grew from a widespread upheaval of society brought on by the howling horrors of World War I. In this course we will explore such modernist themes as violence, loss, despair and the drive toward reinvention – themes that still resonate in today’s culture – through the biographies and autobiographies of some of the era’s most fascinating figures. Texts include A Moveable Feast, by Ernest Hemingway, The Autobiography of Alice B. Toklas by Gertrude Stein, and Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald by Matthew Broccoli.|
|ENG 291||Intermediate Fiction Writing||H. Pittard||TTH 2:40-4:10, LPC|
|W. Ewell||W 6:00-9:15, LPC|
|Writing and analyzing short prose fiction. May be taken twice. May not be taken pass/fail.|
|ENG 292||Intermediate Poetry Writing||K. Rooney||MW 1:00-2:30, LPC|
|Poet Marvin Bell has remarked that “The plain truth is that, except for mistakes that can be checked in the dictionary, almost nothing is right or wrong. Writing poems out of the desire to find a way to be right or wrong is the garden path to dullness.” Through close attention to form and constraint, this class will keep your poems from ever being dull. To achieve that end, this class will begin interfering early and often with your poetic intentions and drafts. This restriction-based approach—-predicated on the idea that a poet can often find the greatest freedom of expression within the strictest of restraints-—will cultivate an attitude of flexibility and fun and will lead to discoveries: about structure, content, and your processes writer of poetry.|
|ENG 300||Composition and Style||J. Hickey||TTH 9:40-11:10, LPC|
|ENG 300 is an advanced course in expository writing designed to familiarize students with the elements of prose style through intensive experience in reading, analyzing and writing literary nonfiction. This will involve the thoughtful reading and careful analysis of short contemporary nonfiction prose pieces such as personal essays, memoirs, interviews/profiles, food writing and arts criticism. These essays will not only vary in topic, but in purpose and audience as well. You will then be able to apply these strategies in your own writing assignments. The assignments will offer instruction in invention, arrangement, language play, imitation, and experimentation at the word, sentence, and paragraph level. A third component of the course involves critiquing the work of your peers. The workshop format will emphasize revision and the examination of multiple points of view about each essay. As a result, you will accomplish one of the major goals of the course: to develop and enhance your own writing skills and literary voice.|
|ENG 307||Advanced Fiction Writing||D. Stolar||TTH 1:00-2:30, LPC|
|This is a fairly typical old-fashioned workshop. Students will be reading various contemporary published short stories, but the main focus will be the students’ fiction, which we will read and discuss each week.|
|ENG 308||Advanced Poetry Writing||C. Green||TTH 2:40-4:10, LPC|
|Basically, you’ll do what “advanced” poets do. You’ll read much contemporary poetry ranging from the narrative to the surreal. You’ll read like thieves—using what you read as occasional models for your own poems…you’ll also periodically write reviews of what you read. You’ll study a poetry style manual (learning about the various parts of a poem) and a book of poetic forms (you’ll try writing in a few forms as well). You’ll write ten poems plus revisions. You’ll workshop poems in class as well as in writing groups of your own choosing. You’ll also give a public poetry reading, go to and analyze a local reading, and learn about how to publish your poetry.|
|ENG 309||Topics in Writing: Memoir||B. Borich||MW 2:40-4:10, LPC|
|In this creative nonfiction writing course we class read, write, and workshop literary memoir— first-person narratives illuminating memory, personal history, and other accounts of actual lived experience through the use of evocative description, engaging reflection, and all kinds of prose structures. We explore craft and process issues central to the memoir writer’s work, such as: the line between memory and invention; writing about friends and family; and working with difficult personal material. We also discuss the technical elements of artful memoirs, such as character, setting, narrative focus and time management. Students read example texts, write and revise essay-length memoir drafts, and participate in creative writing peer workshops.|
|ENG 309||Topics in Writing: Historical Fiction||R. Johns-Trissler||TTH 1:00-2:30, LPC|
|In this combination seminar and writing workshop, we will be reading fiction that highlights the intersection of history and fiction, memory and imagination, fact and invention, including such books as Alice Hoffmann’s The Dovekeepers, Frances de Pontes Peebles’s The Seamstress, A.S. Byatt’s “Morpho Eugenia,” and Edward P. Jones’s The Known World, among others. In our craft discussions and workshops, we will consider how each author retrieves, recreates and then reinvents the past, a past that inevitably weaves itself into the present.
Keeping in mind the demands of historical fiction in terms of setting and characterization, we will explore the elements that define strong fiction writing across genres (point of view, plot, theme, and metaphor, to name a few) and learn how to incorporate them into our own writing as we create new, original historical-fiction stories.
|ENG 309||Topics in Writing: Writing the Body||K. Rooney||MW 4:20-5:50, LPC|
|A common intellectual fantasy is to be able to encounter pure ideas in a featureless imaginary space. But tough luck: ideas come from people, and people come with bodies. In this class, we will consider the implications of our embodiment on writing, and look at how the body informs the mind and the art it creates. Sports, sickness, dieting, beauty, pregnancy, disability, sex—when we write on these topics, what forms are best suited to say what we want to say? This cross-/mixed-genre class is designed to familiarize you the techniques of reading like a writer, as well as to furnish you with the vocabulary and practices of the creative writing workshop.|
|ENG 309||Topics in Writing: The Artful Editor||C. Green||TTH 9:40-11:10, LPC|
|The class is designed to give you both a theoretical and practical introduction to editing. It will encompass three aspects of editing: 1) Macro-editing, which involves broadly imagining and re-imagining a written work; 2) self-editing of a group of poems, short story, or essay; and 3) learning about editing as a field or career. Ultimately, we will learn systematic methods for editing, but also–and perhaps more importantly, we will develop an appreciation for and enjoyment of editing that will make our writing better and more fun to do. Along with selected creative works, you will read Editors on Editing: What Writers Need to Know About What Editors Do by Gerald Cross, and The Artful Edit by Susan Bell.|
|ENG 309||Topics in Writing: First Person Narratives||H. Pittard||TH 6:00-9:15, LPC|
|On the surface, the first-person narrative seems a straightforward affair. I did this. I did that. I think this. I think that. But the truly brilliant first-person narrative tells not only the intended story, but also several ostensibly unintended ones as well. In this class, we’ll discuss the difference between author and narrator, and talk about the relationship each has with the reader; we’ll read published first-person narratives and write our own; and we will attempt to put our finger on the often subtle — yet undeniably magical — difference between the successful first-person narrative and the unsuccessful one.|
|ENG 309||Topics in Writing: Writing the Urban Essay||M. Turcotte||MW 9:40-11:10, LPC|
|This course will be an exploration of the craft of Creative Writing focusing on the use of prose to create very short essays rooted in urban experience, environments, and perspectives. For our purposes we’ll think of our form as structured ruminations — essays forged from our encounters in and with the urban body, mind and soul. The class will be a formal writing workshop. Students will also read, discuss and respond in writing to a selection of work by a diverse group of established writers. Students will be asked to complete brief writing exercises, and to write 6-8 original pieces for workshop and revision.|
|ENG 309||Topics in Writing: Writing Young Adult Fiction||N. Grossman||TTH 4:20-5:50, LPC|
|Young adults are recognized as beings in evolution, in search of self and identity, transitioning to adulthood while facing physical, intellectual, emotional, and societal needs. Young adult literature addresses the needs of this unique audience, providing a literary experience that the reader would find relevant. Students will read models of young adult fiction and explore, through workshops and assignments, how to tailor the elements of good fiction – plot, conflict, structure, voice, characterization, dialogue, and point-of-view – to a young adult audience. Possible texts include: The Outsiders, by S.E. Hinton; Dark Life, by Kat Falls; and Is it Night or Day? by Fern Schumer Chapman.|
|ENG 311||Chaucer||W. Fahrenbach||TTH 1:00-2:30, LPC|
|ENG 311 deals with the poetry of Geoffrey Chaucer, the leading poet of fourteenth century England and one of the preeminent poets of English literature. We’ll start with “The Book of the Duchess” as an introduction to Chaucer’s career as a poet, drawing on French sources and conventions of medieval poetry. We’ll go on to Troilus and Criseyde, drawing on Boccaccio but reworked to make it Chaucer’s masterpiece. At the end of the course, we’ll look at selections from the Canterbury Tales, Chaucer’s most English-oriented and best-known work. No previous work in medieval English literature is necessary for ENG 311, but some would be a plus. This course counts as a Major Authors course for creative writers, and in some cases it may substitute for ENG 310.|
|ENG 320||English Renaissance Literature||P. McQuade||MW 9:40-11:10, LPC|
|Survey of English literature from 1500 to 1660.|
|ENG 327||Milton||P. McQuade||MW 11:20-12:50, LPC|
|Study of selected poetry and prose by John Milton.|
|ENG 328||Shakespeare||L. Kordecki||TTH 11:20-12:50, LPC|
|Study of selected plays and poetry of William Shakespeare in relation to early modern English culture.|
|ENG 340||19th Century English Literature||J. Murphy||MW 8:00-9:30, LPC|
|The nineteenth century in English literature is often seen in terms of two broad movements. Romanticism, in the first third of the century, emerged from new ideas in the eighteenth century and from the ferment of the French revolution as a movement that placed a primary emphasis on individual experience. For much of the rest of the period Victorianism sought to cope with a world rapidly changing under the influence of industrialism, urbanization, scientific discovery (especially the theory of evolution), religious doubt, middle-class mores and an altered view of women.
This course will examine the theory and practice of Romantic poetry in writers such as Wordsworth and Keats. It will focus a discussion on the changing forms of the novel through a reading of Jane Austen’s Emma, George Eliot’s The Mill on the Floss, and RL Stevenson’s Dr. Jekyll and Mr. Hyde. Finally, it will explore the dilemmas of the Victorians through the poetry of Tennyson, Arnold, Browning, Rossetti, and Hopkins.
|ENG 350||Modern British Literature||R. Cameron||TTH 11:20-12:50, LPC|
|This course examines a range of literary responses to the rapid, sometimes violent changes taking place in a century often characterized as an age of anxiety, doubt, and conflict. The readings include stories by Joseph Conrad and Salmon Rushdie; poems by Wilfred Owen, T. S. Eliot, and Stevie Smith; plays by Bernard Shaw and John Osborne; and novels by Virginia Woolf, Jean Rhys, and Pat Barker. As we proceed in roughly chronological order, we will consider these works in the context of some of the major events of the twentieth century, including the rise of socialist and feminist movements, the two World Wars, and the disintegration of the British Empire. We will also explore some of the major concerns of modern British writers: aesthetic and social reform; the effects of war and violence; cultural dislocation; and spiritual doubt and transcendence.|
|ENG 361||American Literature 1830-1865||M. Dinius||TTH 11:20-12:50, LPC|
Corporations Promise Investors Profits In New Land Venture
Parishioners Flock To Conservative Churches In Record Numbers
Radical Protestors Demand George’s Ouster
Partisanship Deadlocks Congress
War Casualties Rise Daily
While such headlines might describe recent events, they also could be applied to important moments in early America. We often think of the past as remote, yet the readings for this course will reveal some surprising continuities between then and now. Reading texts that span from Transcendentalist nature writings through Civil War poetry, we will consider the place of literature in establishing and maintaining social order, in reflecting and constructing notions of identity, and in uniting and differentiating peoples. Class sessions will be discussion based and writing assignments will require some library research.
|ENG 362||American Literature 1865-1920||TBD||TTH 1:00-2:30, LPC|
|Survey of American literature from 1865 to 1920.|
|ENG 363||American Literature 1920||H. Ingrasci||W 6:00-9:15, LPC|
|This survey of American literature since WWI acquaints students with major key authors in the cultural and aesthetic issues and movements of the 20th c.: Modernism, Southern Agrarianism, Black Manifestos, Racism, critiques of sexism, Post-Modernism, Voices of Diversity.
Students will read short stories, poems, two novels, three short plays and various critical articles to become conversantly aware of the flow and development of 20th c. authors’ visions of U.S. society. Writers studied will include Hemingway, C. Sandburg, T. Wolfe, Fitzgerald, S. Anderson, S. Glaspell, L. Hughes, Chopin, Steinbeck, Faulkner, W. Stevens, Cummings, E. St. V. Millay, Salinger, F. O’Connor, J.C. Oates, R. Carver, A. Beattie, W.S. Merwin, P. Levine, A. Baraka, Plath, Sharon Olds, X.J. Kennedy, Billy Collins, et. al.
Students will write very short reactions to selected course works in a class journal.
|ENG 369||Topics in American Literature:
|G. Smith||MW 1:00-2:30, LPC|
|The Harlem Renaissance of the 1920s symbolized artistic freedom and sophistication: a direct and forceful rebuttal of the legacies of American slavery in the minds, spirits and characters of African Americans. It was also a restless period when African Americans, during and after the First World War, came of age with the emergence of the New Negro Movement and thus signaled a rejection of profoundly inaccurate and romantic portrayals of African Americans on the 19th century minstrel stage.
This survey course will focus upon the artistic achievements of the Harlem Renaissance in the works of several representative voices from the period, including Langston Hughes, Zora Hurston, Sterling Brown, Angelina Grimke and Nella Larsen. Emphasis will be placed upon understanding the socio-political and historical contexts for the literary period as well as the contributions of individual artists. The lectures and discussions will include close textual analyses of specific poems, plays and novels, in order to promote and reflect the critical importance of the Harlem Renaissance within American life and socio-culture.
Course requirements include two analytical expository essays (4 complete pages each), midterm and final examinations, and regular classroom participation. A ten minute oral presentation is required for all graduate students enrolled in the course and is optional for undergraduates.
40% of the individual course grade will be determined by an average of midterm and final grades; another 40% will be based upon the two assigned essays; and 20% will be assigned to regular classroom attendance and participation. Required Reading: Grimke, Rachel (Handout); Lewis, When Harlem Was in Vogue; Hughes, Mulatto (Handout); Lewis, The Portable Harlem; Hurston, Their Eyes Were Watching; Larsen, Passing.
|ENG 376||Creative Writing and Social Engagement||M. Morano||F 8:30-11:45, LPC|
|This Junior Year Experiential Learning course pairs extensive practice in creative nonfiction writing with inspiring community service work. In class, students will study the art of writing from personal experience; in their service placements, they will assist urban youths with storytelling and with a variety of academic projects. All JYEL courses carry a requirement of 25 hours of community service. This hybrid course includes a required weekly meeting on campus as well as an asynchronous online component.|
|ENG 379||Topics in Literature: Myth and Literature||L. Kordecki||TTH 2:40-4:10, LPC|
|Myth and Literature examines a handful of significant Greek and Roman myths and their occurrence in later poems, stories, and critical discourse. When possible, we will read the original texts in which the myths occur, and compare later versions and adaptations as well as their meaningful afterlife in allusions.|
|ENG 382||Major Authors: The Brontes||J. Conary||MW 4:20-5:50, LPC|
|Since the publication of their first novels in 1847 under the pseudonyms of Currer, Ellis, and Acton Bell, the Brontë sisters have drawn a great deal of public attention because of both their remarkable fiction and their status as one of the most famous literary families in the history of English literature. This course will explore the major novels of Charlotte, Emily, and Anne Brontë in their historical context. The reading list will include Charlotte’s Jane Eyre and Villette, Emily’s Wuthering Heights, and Anne’s The Tenant of Wildfell Hall. This course will also serve as an introduction to literary research in which students will learn how to interpret, evaluate, and locate scholarly criticism. In addition to learning how to work with literary criticism, students will learn strategies for formulating research questions, honing arguments, and creating effective outlines for analytical essays. Students will work closely with the instructor to develop their own research projects, which they will complete in steps over the second half of the quarter; students should leave the course with a 10-12 page researched essay that can serve as a sample of their best writing.|
|Popular Literature: Contemporary Fiction||H. Ingrasci||MW 2:40-4:10, LPC|
|Students will become familiar with noteworthy American fiction writers whose styles and thematic issues have made modern/recent U.S. literature the hallmark of literary artistry in the world. The 28 (very) short stories, the two novels, and the several critical articles on the works covered will focus upon the U.S.’s social problems re cultural conflicts in America: Forming relationships versus loner-solipsism; The alienated (anti-hero) lost-soul as U.S. outsider; Dysfunctional, unfulfilled marriage partners; family-ties as anchors in a lonely-crowd society; Hope-givers versus life-downers in the challenge of coping with Robert Frost’s vision of “LIFE AS A DIMINISHED THING.”
Key authors whose short stories we will probe include ff.: Ann Beattie, R. Carver, F. O’Connor, Donald Barthelmé, James Baldwin, Steinbeck, G. Godwin, Bobbie Ann Mason, Updike, Tobias Wolfe, J.C. Oates, Toni Morrison, Cather, K. Mansfield, Liza Wieland, Shirley Jackson. Novels: J.C. Oates’ Foxfire, Morrison’s SULA. Final (essay) exam = 40%. Course Paper = 60%.
|ENG 390||Senior Capstone Seminar:
Nature and Culture of Love
|E. Selinger||MW 2:40-4:10, LPC|
|ENG 390||Senior Capstone Seminar:
Theories of Literature and Literary Change
|R. Squibbs||T 6:00-9:15, LPC|
|By the time you’re a senior English major you’ve undoubtedly spent lots of time reading literature in relation to history. It’s become commonplace to regard novels, poems and plays as primarily reflecting, or otherwise engaging with, the social and political currents of their time. It’s far less common, however, for students to have extensively studied the histories of literature itself: histories of the very idea of literature as a distinctive realm of human endeavor; histories of various literary forms as they’ve developed and changed across time; and histories of the ways in which literary works have been read and interpreted in different historical moments. In this Capstone, we will focus on literature and literary history as phenomena worthy of study in their own right. We will begin at the beginning, reading foundational writings on the nature of literature by Plato, Aristotle and Horace. We will then follow the history of writings in English concerning literary creation, and the literary experience, up through the early twentieth century. The course will conclude with an exploration of a range of modern theoretical works that present the writing of literary history as a uniquely fascinating, if problematic, enterprise.|
DECEMBER COURSE ONLY
|ENG 309||Topics in Writing: Narrative Clarity-Scenes and Vignettes||R. Jones||12:00-3:45, LPC
|This December workshop course will focus on the reading and in-class writing of brief, fully realized stories. Vignettes and Scenes are economical: brief narratives, sketches, and essays “characterized by great precision and delicate accuracy of composition.” [A Handbook to Literature] A vignette—a short impressionistic scene that focuses on one moment or a fleeting slice of life—is composed like a photograph or painting to give a trenchant impression about a character, an idea, a setting, or an object. The writing of vignettes requires utmost attention to detail, and requires a presence of mind and powers of keen observation that would be of help in any kind of creative writing.
This is a course in writing poetry and short imaginative prose. Students need no prior creative writing experience, but should be prepared to write extensively. Our goal will be the completion of a final portfolio—a small, cohesive, polished book of poems and stories. December course only.