Results for ENGLISH

Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests. For undergrads only. NOTE: For undergraduates only. Students must attend the first class meeting to retain their roster spot.

Online workshop whose primary focus is to give students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests.

What's `culture'? There is no such thing as `British culture' as a coherent singular phenomenon, but `culture' can be a useful lens to think about a place, its entanglement with the past and the rest of the world. In this class we can understand how the ideas and social relations that constitute the common-sense fiction of British culture and the very notions of `Britishness', `Englishness', etc. came about historically and are sustained in contemporary contexts. As well as learn how to use `culture' as a heuristic-critical tool to make sense of a particular place's entanglement in history, politics, and cultural production.

The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. Prerequisite: PWR 1 (waived in summer quarter). NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.

Online workshop course that explores the ways in which writers of fiction have used language to examine the world, to create compelling characters, and to move readers. We will begin by studying a selection of stories that demonstrate the many techniques writers use to create fictional worlds; we'll use these stories as models for writing exercises and short assignments, leading to a full story draft. We will study figurative language, character and setting development, and dramatic structure, among other elements of story craft. Then, each student will submit a full draft and receive feedback from the instructor and his/her classmates. This course is taught entirely online, but retains the feel of a traditional classroom. Optional synchronous elements such as discussion and virtual office hours provide the student direct interaction with both the instructor and his/her classmates. Feedback on written work ¿ both offered to and given by the student ¿ is essential to the course and creates class rapport.

Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content. Prerequisite: PWR 1 (waived in summer quarter and for SLE students). NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.

Online workshop course. Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content.

Online workshop course in which students explore issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem.

CPT course required for international students completing degree.Following internship work, students complete a research report outlining work activity, problems investigated, key results and follow-up projects. Meets the requirements for curricular practical training for students on F-1 visas. Student is responsible for arranging own internship and faculty sponsorship.

Undergraduates who wish to study a subject or area not covered by regular courses may, with consent, enroll for individual work under the supervision of a member of the department. 198 may not be used to fulfill departmental area or elective requirements without consent. Group seminars are not appropriate for 198.

This course explores the ways we talk and think about how systems work, using nonfiction and science fiction to understand software, hardware, and wetware. A theoretical grounding in the tools used to analyze such systems from a humanistic perspective, including tools from cyber/data feminism, anti-orientalism, and queer theory, as well as practical experience in systems analysis. Students will produce soft/hard/wetware criticism of their own in addition to literary-critical argument. No coding experience required.

Open to DCI Fellows and Partners only. DCI Advanced Memoir will take as its occasion for your creative and critical development an examination of essays and book excerpts in groundbreaking and traditional memoir forms. These texts broadly innovate within and outside of the formal traditions you studied in DCI Memoir and DCI Intermediate Memoir, finding new and exciting ways to represent personal experience. This section will also serve as the continuing examination and practice of those formal elements. You will write, workshop, present to the class, and revise at least two short essays, one long essay, and working drafts of excerpts from those essays. All workshops will serve as the springboard for our larger class conversation about theme and craft. During the quarter, we will meet in individual conferences. Throughout the quarter, creative work will be assigned in the form of essays, imitations, and revisions. Critical work will be assigned in the form of written analysis, a reading response, starting a class discussion, and writing and discussing critiques of your colleagues' essays. A variety of creative prompts, critical exercises, and assigned readings will foster your understanding and appreciation of creative nonfiction, as well as your growth as a creative writer. Energetic, committed participation is a must.

Graduate students may self-determine a popular media project¿such as an essay, column/series of essays, podcast, agent query, or book proposal¿to be completed, with consent, under the mentorship of the Graduate Humanities Public Writing Project. Prerequisite: Pitching and Publishing in Popular Media (DLCL 312/ENG 318/FEMGEN 312F), approved project proposal. Students will determine their individual meeting schedule with the instructor, and will also convene for at least one group meeting.

Preparation for first-year Ph.D. qualifying examination and third year Ph.D. oral exam.

A special subject of investigation under supervision of a member of the department. Thesis work is not registered under this number.

Gathering and analyzing data, constructing hypotheses and designing experiments to test them, writing programs [if needed], preparing visuals and texts for articles or conferences. Requires a year-long participation in the activities of the Lab.

Qualifying Exam Workshop for 1st year cohort

Students revise and develop a paper under the supervision of a faculty member with a view to possible publication.

For M.A. students only. Regular meetings with thesis advisors required. To enroll, make an appointment with English student services and provide confirmation of advisor consent.