Fall 2016 Course Descriptions

Literature &Writing Studies

Creative Writing

 

402 1U/1G DESCRIPTIVE ENGLISH GRAMMAR, Prior. MW 11-12:15
same as BTW 402

This course introduces descriptive approaches to analyzing English language and language practices. We will explore traditional and modern systems for describing English grammar, relationships between language in talk and text, the nature of registers and dialects, interaction of visual and linguistic dimensions of texts, approaches to grammar instruction, and language practices in everyday environments. Course requirements include reading; inquiry-oriented projects that will be either written up or presented orally; informal writing in-class or at home; extended analysis papers; in-class tests; and a final reflection essay.

404 U3/G4 ENGLISH GRAMMAR FOR ESL TEACHERS, Ionin. MWF 11
same as EIL 422

Adaptation of modern English grammar to meet the needs of the ESL/EFL teacher, with special emphasis on the development of knowledge and skills that can be used in the analysis of the syntax, lexis and pragmatics of English.

407 1U/1G INTRO TO OLD ENGLISH, Trilling. TUTH 11-12:15 Requirement: pre-1800 (medieval)
same as MDVL 407

Old English is the language spoken and written in England between roughly 500 and 1100 AD, and it offers a window to the past through a wide range of beautiful and evocative texts. In this course, you will encounter the very oldest English literature in its original form—the tales of kings, battles, heroes, monsters and saints that have inspired writers from John Milton to J.R.R. Tolkien. Because Old English is almost like a foreign language to Modern English speakers, the course will begin with intensive work on the basics of Old English grammar and translation practice before we move on to more in-depth study of the literature and culture of Anglo-Saxon England.
Please note: This course fulfills the Pre-1800 requirement for English majors, and it may be used to fulfill the language studies elective option for Teaching of English students (with permission from an advisor).
Requirements: daily attendance and participation, homework and quizzes, prepared translation, a midterm, and a final. Students taking the course for graduate credit will meet one extra hour per week (time TBD) and will write a seminar paper in addition to the regular course requirements.

416 1U/1G TOPICS IN BRITISH DRAMA TO 1660, Perry. TUTH 2-3:15 Requirement: pre-1800 (renaissance)
TOPIC: Sex, Vengeance, and the Subjects of Tragedy

Readers familiar only with Shakespeare will be surprised by the tonal complexity and ungenteel-seeming vitality of non-Shakespearean tragedy from the early modern period. Plays by writers like Marlowe, Kyd, Middleton, Ford, and Webster (among others) can be violent, philosophical, crude, satirical, grotesque, sophisticated, horrifying, and hilariously funny by turns, and sometimes all within the same scene.
This course will examine the extraordinary experimental energies of early modern drama by focusing upon tragedies depicting the outrageously anti-social: the breaking of sexual taboo (which is in turn the violation of kindship and lineage and so understood as the erasure of patriarchal social order) and the pursuit of vigilante revenge (which is forbidden in the New Testament and imagined as a violation of social norms of communal justice). In learning to read and understand some of the period’s most willfully shocking tragedies, we will pay attention to the way they imagine sexual transgression and the need for vengeance as symptomatic of social breakdown: these are plays about the relationship between political power and subjectivity, as well as about the enfranchisement or otherwise of the political subject. They are also, and above all, wonderfully entertaining and superb to think with.

418 1U/1G SHAKESPEARE, L. Newcomb. TUTH 11-12:15 Requirement: pre-1800 (Shakespeare)

This course explores seven Shakespearean plays from a range of dramatic genres. We’ll look especially at the features that made these plays popular in their day: their open staging, their playful language, and their laying bare of the period’s familial, national, gender, and racial tensions. We’ll also consider how the meanings of ‘Shakespeare’ keep multiplying, thanks to the constant, sometimes subversive, reinvention of the plays by literary critics, performers, and adapters world-wide. That diversity compels us to use multiple interpretive frames to look at the plays: close reading; informal staging; film analysis; feminist, historicist, postcolonial, and queer studies critical approaches. Be ready for proactive discussion, performance experiments, a rare-book library visit, and attending at least one Shakespeare play on campus, as well as special events marking 2016 as the 400th anniversary of Shakespeare’s death. Written assignments include informal writings, two focused short papers, a longer paper based on guided research (7-9 pp.), and a final exam.

TEXTS: (these print editions are required) Greenblatt et al, eds., Shakespeare: Essential Plays (3rd edition, 2016, ISBN 978-0-393-93863-0); McDonald, ed., Bedford Companion to Shakespeare (2nd edition, 2001, ISBN 978-0312248802); one individual play edition TBA.

429 1U/1G 18th CENTURY FICTION, Pollock. MWF 1 Requirement: pre-1800 (18th century)

This course will examine the link between European colonialism and the development of recognizably modern fiction during the course of the long eighteenth century—a period commonly referred to as the Enlightenment—in England, France, and the Americas. We will analyze travel both as a literal means of disseminating “enlightenment” between cultures, and as a metaphor for describing the formation of the “enlightened” person, an idealized subject defined by her/his movement into trans-cultural spaces where complicated ethical and political dilemmas must be negotiated. Indeed, one of the influential legacies of these Enlightenment fictions (or fictions of Enlightenment) has been their formulation of cosmopolitanism as a solution to the often violent clash between cultures. The popular narratives we’ll study test the Enlightenment’s cosmopolitan ethos by imagining European observers in a wide range of locales: Brazil, West Africa, the Caribbean, Persia, the Ottoman Empire, Abyssinia, and Egypt, to name a few. Time permitting, we will finish by reading some recent philosophical work on the question “What is Enlightenment?” and we will attempt to answer that question ourselves. Texts by Montaigne, Behn, Defoe, Montesquieu, Swift, Montagu, Johnson, Voltaire, and Equiano.
Requirements: active participation, journal responses, three essay projects, and a final exam.

431 1U/1G TOPICS IN BRITISH ROMANTIC LITERATURE, Underwood. MWF 1 Requirement: 1800-1900

In Britain, the end of the eighteenth century was a time of excitement and uncertainty. The revolution in France had shown that it was possible to redesign human life from the ground up. Some observers saw an age of progress opening; others saw a world without fixed principles or spiritual hope, governed only by selfishness. That uneasy excitement about change is still with us today, and so are the literary forms that writers created between 1789 and 1832 to give shape to their mixed feelings. We will explore gothic horror, the tormented “Byronic” hero (and heroine), the idea of a personal connection to nature, and the idea of “culture” itself. Readings will include poems by Wordsworth, Coleridge, Keats and Byron, novels by Radcliffe and Austen, and selections from Wollstonecraft’s Vindication of the Rights of Woman. Requirements include active participation, informal weekly writing, two papers, and two exams.

450 1U/1G AMERICAN LITERATURE 1865-1914, Jones. MWF 10 Requirement: 1800-1900

The United States we live in today was born in the tumultuous period between 1865 and 1914, as the country coped with the aftermath of Civil War, the violent failures of Reconstruction, new forays into overseas imperialism, rapid industrialization, roiling labor disputes, a massive influx of immigrants, and the integration of newly emancipated and enfranchised African Americans into society. The explosion of railroad networks and the invention of the automobile transformed the American landscape, while new technologies like photography, telegraph, and film seemed to change space and time themselves. The United States of 1865-1914 will appear wildly strange and eerily familiar to students: it was a world fraught with economic inequalities, widespread corruption, scientific discoveries that threatened to upend the social order, and racial tensions that still resonate in the contemporary world of Black Lives Matters. We will encounter the foreign land of the past through its literature, reading works by authors including: Charles Chesnutt, W. E. B. Du Bois, Edith Wharton, Henry James, Walt Whitman, Mark Twain, Charlotte Perkins Gilman, and Edward Bellamy. We will read across genres and across movements in literary history (including realism, naturalism, and modernism), and will learn how to read texts through a variety of theoretical frameworks. In addition to reading literature, we will encounter paintings, short films, photographs, and musical works, which will help us understand how art channeled the massive social forces remaking the world. Students can expect to write two essays and two exams.

455 1U/1G MAJOR AUTHORS, Byrd. TUTH 2-3:15
TOPIC: Mark Z. Danielewski, Code, and Writing Technologies

In this course, we will read the novels by Mark Z. Danielewski including House of Leaves, Only Revolutions, and the first three volumes of The Familiar alongside cultural studies of computer code, technology, and new media to examine how the materiality of the book continues to transform digitally. Using Danielewski as a central author, we will think through questions of speculative horror and genre as well as interrogate how objects function in and over themselves when centered as categories of analysis. How do contemporary authors continue to demonstrate the relevance of the book and the written word within the digital terrains of online media and code? How do hypertext, visual novels, interactive fiction, and videogames rely on and disrupt narrative forms?

461 CJ/CJG TOPICS IN LITERATURE, Jenkins. TUTH 9:30-10:50 Requirement: REPCIS
meets with AFRO 498
TOPIC: Afrofuture and Black Speculative

How do black writers and artists envision the future? How have black cultural producers re-imagined and revised the past, and given voice to alternative possibilities for the present? In this course, we will examine “Afrofuturism”—a term coined by Mark Dery in the mid-1990s—as a literary and cultural aesthetic that incorporates science fiction and fantasy, magical realism, and non-Western cosmology, in creative works that challenge the racial homogeneity of conventional genre fiction and explore questions of black identity and subjectivity in futuristic contexts. We will consider, as well, how black speculative fiction—including historical works that may not fit under the sci-fi, fantasy, and magical realism umbrellas—has not only looked toward the racial future, but reimagined the past and its relationship to the present in startling and controversial ways. We will read fiction and graphic novels by authors such as Derrick Bell, Octavia Butler, Samuel Delaney, W.E.B. DuBois, Tananarive Due, John Jennings, Victor LaValle, Nnedi Okorafor, and Kiini Ibura Salaam, and will also explore music, video, visual art, and film by artists including, but not limited to, Sun Ra, Outkast, Alabama Shakes, DJ Spooky, Flying Lotus, Erykah Badu, Jean-Michel Basquiat, Wangechi Mutu, Lizzo, and Janelle Monae. Two short papers, in-class presentation, and a final seminar paper.

476 1U/1G TOPICS IN LIT & ENVIRONMENT, Wood. TUTH 11-12:15
TOPIC: Environmental Writing

This class is designed for students across the department interested in nature writing and engaging with current environmental issues. The core genre of the class will be the magazine essay, and we will sample work from the best writers in the field today, including Rebecca Solnit, Elizabeth Kolbert, Michael Pollan, Rowan Jacobsen, and Alan Weisman. Publication venues include The New Yorker, Atlantic Monthly, and Science, while the essays themselves address the full range of twenty-first century ecological concerns, from climate change to processed foods to fossil fuels to deforestation. For their research project, students will have the option of analytic paper treating the material we have read, or developing an environment-themed “magazine article” of their own, with a view to publication.

481 1U/1G COMP THEORY AND PRACTICE, Russell. MW 3:30-4:45

The constellation of skills that comprise composition—invention, selection, combination, construction, framing, curation, reasoning, argument, presentation, delivery, and so on—have been taught in Western worlds since classical time. This course will review the long and rich history of composition theory in order to understand what composition has been (e.g., a craft, an art, a civic action, a moral exercise), who composition has served (e.g., citizens, lawyers, preachers, social climbers, students, activists), and what composition has helped people accomplish (e.g., persuasion of others, expression of self, disruption of social order). We will consider how these historical theories of composition inflect the approaches to teaching composition that have emerged in the last fifty years, including pedagogies grounded in process theory, expressivism, social constructivism, feminism, multimodality, and multiculturalism. In light of these historical and contemporary contexts, we will articulate our own goals as writers and teachers of writing, asking what practices will allow us to achieve our goals in the contexts of the communities in which we live and teach.

482 1U/1G WRITING TECHNOLOGIES, D. Baron. TUTH 9:30-10:45
same as LIS 482
TOPIC: Communicating in the Digital Age

We will examine the impact of the new digital technologies on our reading and writing practices and look at ways in which readers and writers impact the direction of communication technology. We’ll look as well at the relationship of today’s digital genres—everything from text to Twitter—to earlier, more traditional genres; how they develop unique conventions and practices; how they self-regulate, moving from freewheeling anarchy toward definable forms and expected behaviors; how they deal with violations of conventional norms; and how new practitioners learn and perfect their art. We’ll consider how the new genres create an aesthetic, and we’ll examine the legal and ethical problems these new technologies pose.
All readings will be available online. Students will write short essays and a term paper or semester project on an appropriate topic.

486 A3/A4 HISTORY OF TRANSLATION, Cooper. MW 12:30-1:50
same as SLAV 430, CLCV 430, CWL 430, GER 405, SPAN 436, TRST 431

Study of the historical development of translation ideas and practices in Europe and in particular cases across major global regions. Reading and analysis of key texts in the development of translation theory and case studies of practices and roles played by translation in different periods and geographical regions.

500 M INTRO TO CRITICISM & RESEARCH, Parker. TUTH 9:30-10:45

This course is a survey-introduction to the concepts and methods of recent critical theory. In short, it is a ticket to engaged fluency in the dialogues and opportunities of contemporary criticism, designed for newer English graduate students (and more experienced graduate students) who do not already have a broad background in critical theory. We will proceed through a series of cumulative, overlapping units on new criticism, structuralism, deconstruction and poststructuralism, psychoanalysis, feminism, queer studies, Marxism, historicism, cultural studies, critical race theory, postcolonial studies, reader response, ecocriticism, and disability studies. We will also participate in the Modern Critical Theory Tuesday evening lecture series sponsored by the Unit for Criticism and Interpretive Theory and including parallel graduate seminars from other departments. Depending on scheduling and student interests, we may devote sessions to such practical concerns for graduate study in English as research methods, graduate writing, and organizing and planning one's graduate studies and academic progress intellectually and administratively. Attendance, inquisitiveness, and active participation in class discussion are crucial. (Students who prefer to be seen but not heard should not enroll.) Students enrolled in Engl 500 are expected/required to attend the weekly Modern Critical Theory lectures on Tuesdays, 5:15-6:45 pm.

505 G WRITING STUDIES I, Prior. W 3-4:50
same as CI 563

This seminar offers an introduction to writing studies, an interdisciplinary field that emerged in the 1980s and explores the theory, research and practice of writing in any context (school, workplace, home, community). Across these contexts, the course will examine such issues as how to study and engage with writing processes; the collaborative nature of writing and varied types of authorship; intersections of writing with other modes (reading, talk, visual representation) and varied technologies (paper, screen and other materials for production and distribution); the nature of specialized genres and genre systems; and situated forms of learning and pedagogy (whether formal or informal). This seminar aims at helping students to engage in scholarship in writing studies. In addition to common readings, participation in activities, and regular informal writing, each student will select, explore and write on an issue of interest in greater depth.
514 G SEMINAR IN MEDIEVAL LITERATURE, C. Wright. M 3-4:50
TOPIC: Bibliography and Methods of Medieval Studies

This course is a practical introduction to the bibliography of Medieval Studies, with a focus on Western European textual and iconographic traditions. You will learn about the primary materials and research tools that medievalists use, and the methods and assumptions that enable various historical approaches to medieval texts and cultural artifacts. You will learn how to use the major reference guides, encyclopedias, bibliographies, and electronic databases in order to access medieval historical sources, literary texts, and artistic monuments and to locate the relevant scholarly literature. Representative topics include ecclesiastical history, medieval Latin literature, liturgy, hagiography, biblical exegesis, folklore and popular culture, sciences and encyclopedias, and iconography. Basic reading knowledge of Latin is required.

524 R SEMINAR IN 17TH C LIT, Gray. TH 1-250
TOPIC: John Milton and Seventeenth-Century Literature

Milton was a blind seer, regicidal prose-writer, and influential poet. He also wrote arguably the most ambitious English epic, one that aimed to explain the deep historical origins of human life while also addressing his war-torn contemporary moment, with all its political, affective, and spiritual turbulence. Milton grappled with some of the most controversial issues of his time, including divorce and regicide, while also elaborating ideas that often sit uncomfortably together: he was a censor who argued for restraining censorship, a zealous anti-Catholic who argued for a limited liberty of conscience. He was known to his contemporaries as both the virginal and self-denying “Lady of Christs” and the libertine “Milton the Divorcer.”
This course will explore Milton’s prodigious, dense, and often contradictory output, starting with his early verse and polemical prose works and ending with the whole of Paradise Lost. Throughout, we will analyze his work within three main contexts. First, we will consider the armed turmoil of the mid-seventeenth-century civil wars, which raised important questions about political form and national belonging, sex-gender relations and identities, the legitimacy of violence and the ethics of war. Second, we will explore some important seventeenth-century interlocutors for Milton, including the republicans Andrew Marvell and Lucy Hutchinson, the radical sectarians Anna Trapnel and Gerrard Winstanley, and the royalists Hester Pulter and King Charles I himself. Third, we will read scholarship by a range of Miltonists, scholars who bring a diverse array of methods—including feminism, historicism, queer theory, and formalism—to bear on this most challenging of authors.

543 R SEMINAR MOD BRITISH LIT, Gaedtke. TU 1-2:50
TOPIC: The Minds of Modernism

This seminar will examine the conceptual and rhetorical exchanges that occurred between modernist literature and the mind sciences. We will consider the influences that early psychiatry, neurology, psychoanalysis, behaviorism, phenomenology, and various forms of pseudo-science had upon modern British and Irish fiction. Conversely, we will ask how those literary experiments exerted critical pressure on these new sciences and participated in a discursive contest to redefine “the mind.” Along the way we will consider the roles that forms of psychopathology, trauma, disability, and cognitive disorder played in the construction of the “normal” mind. We will also examine recent critical approaches that draw upon cognitive frameworks in order to re-evaluate the famous “inward turn” that distinguished modernist fiction, and we will examine the ways that modernist conceptions of the mind were extended through brain, body, narrative, and world. While gaining knowledge of modernist formal experimentation, students will also develop strategies for conceptualizing discursive points of contact between literature and the sciences. Readings will include works by Samuel Beckett, Virginia Woolf, Joseph Conrad, Rebecca West, Mina Loy, Sigmund Freud, and others.

547 T SEMINAR EARLIER AMERICAN LIT, Loughran. TH 3-5:50
TOPIC: Early American Material Culture, 1750-1900

This will be a methods course in material culture in which students will be asked to assemble and theorize a diverse archive from which they might ultimately narrate some larger story about American culture—from its printed archive of novels, newspapers, pamphlets, maps, and magazines to less obviously literary sites like houses, museums, plantations, and Indian reservations. For the first two-thirds of the course, we will anchor these archival investigations in cultural theory and on close readings of primary texts. In the last third of the course, seminar participants will work together in groups to assemble and narrate for the seminar a distinctive archival bibliography that will help form the basis of each student's longer seminar paper. Our last few weeks will be entirely devoted to exchanging and discussing student writing. The course will thus serve both as a practical site for learning basic approaches to archival research and as a place to theorize the methodological problems that arise when working with and in cultural history.

553 E SEMINAR LATER AMERICAN LIT, Hutner. M 1-2:50
TOPIC: Reconstruction

This course examines a much overlooked though crucial epoch in US literary history, the years between following the Civil War and leading up to Plessy v Ferguson (1896), especially the period between 1866 and 1877. Virtually every anxiety that continues to plague US society—racial injustice, income inequality, and immigration—can ultimately be traced to this incredibly troubled and formative era. US writers confronted a nation trying simultaneously to solidify itself through fictions of unity, even as policies of disharmony were nostalgically embraced. The nervous search for order marking the literary production during these years glanced backward while encountering an increasingly incomprehensible present. We will read a diverse array of novelists—largely but not exclusively in the realist tradition—belle lettrists, and intellectuals, who tried to come to terms with this tragically confused and confusing America.
The course will be organized through weekly readings and presentations. Students will commit early to a research project on a text of their choosing, on which they will write a critical essay. The last several weeks of the course will be devoted to a publication workshop.

563 T SEMINAR THEMES AND MOVEMENTS, Soto Crespo. TH 3-5:50
TOPIC: Global White Trash Fiction

This seminar studies the racialized class category of white trash in a global framework. We will examine the history and culture of the denomination “white trash” from its origins in the mid-nineteenth century America to the present. We will study the historical articulation of “white trash” as a category of exclusion embedded in the particular American experience and we will trace its global circulation and re-emergence in the global south. In the last decades, studies on whiteness have expanded their scope and one of their most important contributions is the analysis of white trash culture. The seminar will examine works by literary writers from the U.S. and the global south, as well as, works by sociologists, historians, and cultural critics of trash.

583 P TOPICS WRIT PEDAGOGY & DESIGN, Prendergast. TU 11-12:50
same as CI 566
TOPIC: Disability Pedagogy

Although much scholarly ink has been spilt considering the impact of race, class, and gender on pedagogy, academics are only recently grappling with the notion of ability. In this course we will look at this recent turn toward considering ableism’s pervasive influence on pedagogy, particularly as it touches on areas of education in writing, literature, and language. Topics include accommodation, disclosure, access, inclusion, discrimination, universal design, and neurodiversity. The course will take advantage of the extensive archives of the University of Illinois’ own history as an institution that has attempted to remodel itself over the years to accommodate students with disabilities.
Texts include: Sequenzia and Grace, Typed Words, Loud Voices; Price, Mad at School; Saks, The Center Cannot Hold; Davis, Enforcing Normalcy; Garland-Thomson, Staring: How we Look.

584 E TOPICS DISCOURSE & WRITING, Russell. M 1-2:50
same as CI 569
TOPIC: History of the English Language

Once the inconsequential language of a colonized people living on a small island off of the North Sea and now an international language spoken by a half billion people, English has a 1200-year history full of dramatic and bizarre turns. This course will trace those turns, considering the phonological, syntactic, morphological, sociolinguistic, pragmatic, generic, and ideological characteristics of English at various periods in time (Old English, Middle English, Early Modern and Modern English, present-day Englishes). We will explore both “internal” processes of change (e.g., shifts in grammar and sound) and “external” processes of change (e.g., social and cultural watersheds) as we map not only what the language has looked like but who has used it and to what ends. The course will serve as an introduction to historical language scholarship, but it emphasizes that historical language scholarship is a methodology broadly useful for rhetorical studies, cultural studies, literary historical studies, post/colonial studies, language studies, and the teaching of writing. No previous experience with language study or linguistics is required.

593 C PROFESSIONAL SEMINAR IN THE TCHG OF ENGLISH, McDuffie. W 10-12:50
TOPIC: The Teaching of Rhetoric

In this course, we will investigate writing pedagogy theory and praxis focused on first-year composition. We will explore writing pedagogy theories and best practices, from cornerstone concepts like writing as a process to contemporary research on genre and transfer. In particular, we will theorize, through readings in history and theory of composition studies, practices relating to topics such as: incorporating rhetorical theory and strategies, maintaining language diversities in the classroom, integrating digital literacies and teaching with technology, responding to and evaluating student work, and developing teaching personae. The required work for this course includes weekly readings, reading responses, active participation in class discussion, a statement of teaching philosophy, and a writing pedagogy essay.


Division of Creative Writing
400- and 500-Level Course Descriptions
FALL 2016

404 ADVANCED NARRATIVE WRITING

Prerequisite is CW 204. This third level workshop continues the writing of fiction at a more advanced level. Students meet regular deadlines and work on projects of their own design.

406 1U/1G ADVANCED POETRY WRITING, Harrington. MW 12:30-1:45

Practice of the writing of poetry aided by intensive study of examples. Prerequisite: CW 206 or equivalent. Prerequisite: CW 206 or equivalent.

455 WRITING TUTORIAL - NARRATIVE, POETRY, OR CREATIVE NONFICTION

This is a tutorial course for advanced student-writers in Narrative, Poetry, or Creative Nonfiction. In Narrative and Poetry, the tutorial is designed for students who have completed the advanced course in their primary genre (404 in Narrative, 406 in Poetry). In Creative Nonfiction, the tutorial is designed to follow the intermediate course, CW 208. Interested students need to find an instructor with the time available for such an arrangement. A substantial amount of writing is expected, either as a single longer project or as a series of shorter pieces. As in all tutorial arrangements, self-motivation and self-discipline are essential in successfully meeting the demands of the course. This course may be repeated for a total of 6 hours.

460 M INTRO TO LITERARY EDITING. TUTH 9:30-10:45

Practicum in which students learn all the stages of developing and editing a literary publication. Students will solicit, read, and select poems and stories for an online supplement to the Ninth Letter literary journal. At the end of the semester, the supplement will be published on the Ninth Letter website (www.ninthletter.com). Students will gain experience in professional communications, copyediting, and marketing. No graduate credit. Prerequisite: CW 104 or CW 106.

463 1U/1G ADVANCED TOPICS IN CREATIVE WRITING, Shakar. M 2-4:20
TOPIC: Long-Form Narrative

This advanced workshop in narrative writing will allow each student to develop a long-form narrative of his or her choice. The narrative may be a novel or novella; a memoir, extended personal essay, or work of nonfiction; a stage play or screenplay; or a television pilot. Over the course of the semester, students will research their chosen form, and then outline, draft, and polish 40-60 pages toward the completion of their project. The workshop will thus span narrative forms, and will be unified by an ongoing discussion about the particular qualities that help each form of writing succeed, and those qualities shared by all. Prerequisites: Either CW 202, 204, 208, Thea 211, or equivalent experience with instructor permission. Open to juniors and seniors only. Genre and young-adult fiction will not be within the purview of this course.

GRADUATE SEMINARS

500 H THE CRAFT OF FICTION, Shakar. M 5-6:50 pm

Examination of the creative process of fiction from the perspectives of aesthetics and techniques, illustrated from the work of selected authors.

502 E PROBLEMS IN POETRY WRITING, Madonick. M 1-2:50

Examination of the creative process of poetry from the perspective of aesthetics and techniques, illustrated from the work of selected authors.

504 T WRITING WORKSHOP IN FICTION. W 3-4:50

Directed projects in fiction writing, either short stories or sections of a novel, with group discussion and critique. There will be a course packet for the class, featuring short stories and essays on the writing of fiction and related topics; there will be a discussion of these readings at the beginning of each class meeting.

506 G WRITING WORKSHOP IN POETRY, Kelly. W 3-5:50

Directed individual projects, with group discussion in fiction.

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