printer friendly pageENGLISH 20N: Poetry: Wordsworth, Dickinson, Rilke
We will consider both the very short poems of these three master poets -- asking what precisely is the virtue and effect of these shortest linguistic art objects -- as well as their very long works or sequences, to think about scale and singularity or repetition in poetic utterance.
Terms: Aut
| Units: 3
Instructors:
Greif, M. (PI)
ENGLISH 28Q: The Campus Novel
The college campus is a fascinating place, where people from different backgrounds come together for different purposes. So it is no wonder that many novelists have turned their attention upon the college campus as a setting for their novels. In this Sophomore Seminar, we will read three fantastic campus novels, and use these books as means of exploring big questions about the purpose of an undergraduate education.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Smith, A. (PI)
ENGLISH 50: Humanities House Workshop
For student-run workshops and research seminars in Ng House / Humanities House. Open to both residents and non-residents. May be repeated for credit. This course code covers several discrete workshops each quarter; sign up for a particular workshop via the Google Form at
https://goo.gl/forms/TRU0AogJP3IHyUmr2.
Terms: Aut, Win, Spr
| Units: 1
| Repeatable
for credit
(up to 99 units total)
Instructors:
Shanks, M. (PI)
ENGLISH 61N: Jane Austen's Fiction
Austen's finely wrought novels were unlike any previous fiction, offering an intensely realized example of literary originality. This class focuses on Austen's major writing, all published in a remarkable ten year period. These novels - including Pride and Prejudice, Emma, Mansfield Park and Persuasion - have had a profound impact on the development and understanding of the novel as an art form. We'll take the measure of Austen's inventiveness and her subtle, engrossing experiments in narrative voice, fictional character, representation and literary form. Our two goals will be to closely engage each novel (looking at the major interpretative and aesthetic questions that are generated) and to track the rich dialogue that takes place between her different texts when they are read together.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Woloch, A. (PI)
ENGLISH 66: 'A Model Island': Britain in Historical and Cultural Perspective
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.
Terms: Aut, Win, Spr, Sum
| Units: 2
Instructors:
Afanasyev, I. (PI)
;
Solywoda, S. (PI)
ENGLISH 81: Philosophy and Literature (CLASSICS 42, COMPLIT 181, FRENCH 181, GERMAN 181, ILAC 181, ITALIAN 181, PHIL 81, SLAVIC 181)
Can novels make us better people? Can movies challenge our assumptions? Can poems help us become who we are? We'll think about these and other questions with the help of writers like Toni Morrison, Marcel Proust, Jordan Peele, Charlie Kaufman, Rachel Cusk, William Shakespeare, and Samuel Beckett, plus thinkers like Nehamas, Nietzsche, Nussbaum, Plato, and Sartre. We'll also ask whether a disenchanted world can be re-enchanted; when, if ever, the truth stops being the most important thing; why we sometimes choose to read sad stories; whether we ever love someone for who they are; who could possibly want to live their same life over and over again; what it takes to make ourselves fully moral; whether it's ever good to be conflicted; how we can pull ourselves together; and how we can take ourselves apart. (This is the required gateway course for the Philosophy and Literature major tracks. Majors should register in their home department.)
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Landy, J. (PI)
;
Peacocke, A. (PI)
;
Dowling, G. (TA)
...
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Instructors:
Landy, J. (PI)
;
Peacocke, A. (PI)
;
Dowling, G. (TA)
;
Machado de Oliveira, M. (TA)
;
McGuthry, M. (TA)
ENGLISH 90: Fiction Writing
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.
Terms: Aut, Win, Spr, Sum
| Units: 5
| UG Reqs: WAY-CE, WAY-A-II
ENGLISH 90Q: Sports Writing
Study and practice of the unique narratives, tropes, images and arguments that creative writers develop when they write about popular sport. From regional fandom to individualist adventuring, boxing and baseball to mascot dancing and table tennis, exceptional creative writers mine from a diversity of leisure activity a rich vein of sports writing in the creative nonfiction genre. In doing so, they demonstrate the creative and formal adaptability required to write with excellence about any subject matter, and under the circumstances of any subjectivity. Discussion of the ways in which writers have framed, and even critiqued, our interest in athletic events, spectatorship, and athletic beauty. Writers include Joyce Carol Oates, Roland Barthes, David James Duncan, Arnold Rampersad, John Updike, Maxine Kumin, Susan Sterling, Ernest Hemingway, Norman Mailer, Dervla Murphy, Haruki Murakami, Don DeLillo, Henry Louis Gates, Jr., Annie Dillard, John McPhee, and Laura Hillenbrand. Close readings of essays on form and sport, as well as book excerpts. Students will engage in class discussions and write short weekly papers, leading to a more comprehensive project at the end of the quarter.
Terms: Aut
| Units: 3
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Evans, J. (PI)
ENGLISH 91: Creative Nonfiction
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.
Terms: Aut, Win, Spr, Sum
| Units: 5
| UG Reqs: WAY-CE, WAY-A-II
Instructors:
Beaty, G. (PI)
;
Brewer, W. (PI)
;
Ekiss, K. (PI)
...
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Instructors:
Beaty, G. (PI)
;
Brewer, W. (PI)
;
Ekiss, K. (PI)
;
Evans, J. (PI)
;
Frisch, S. (PI)
;
Holbert, J. (PI)
;
HolyWhiteMountain, S. (PI)
;
Labowskie, M. (PI)
;
Nguyen, H. (PI)
;
Perham, B. (PI)
;
Porter, E. (PI)
;
Shewmaker, M. (PI)
;
Smith, A. (PI)
;
Tanaka, S. (PI)
;
Tomar, R. (PI)
;
Williams, Z. (PI)
ENGLISH 91DC: Writing the Memoir
Open to DCI Fellows and Partners only. In this course, we will practice the art and craft of writing memoir: works of prose inspired by the memory of personal events and history. In our practice, we will look at different strategies for writing with meaning and insight about the events in our lives. We will read a variety of models by published authors who have made sense of the personal alongside the profound: the sad, joyful, simple and complicated stuff of living and being alive. Our learning will be discussion-driven. You should expect to do daily writing in the class, and to write and read widely between our class meetings. We will read, discuss, and imitate excerpts of memoirs by such authors as Augustine, Andrew Solomon, Joyce Carol Oates, Tim O'Brien, Joan Didion, and Eavan Boland, among many others. At least half of our class time will be devoted to the discussion of participants' work. The course will address issues ranging from how we select and write about events from our personal lives, to the ethical obligations of memoirists, to the ways we can explore new understanding about the past, as well as our own courage and reluctance to share personal writing. Writers at all levels of experience and comfort with creative writing are very welcome.
Terms: Aut
| Units: 5
Instructors:
Evans, J. (PI)
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