2012-2013 2013-2014 2014-2015 2015-2016 2016-2017
Browse
by subject...
    Schedule
view...
 

1 - 10 of 22 results for: ENGLISH ; Currently searching summer courses. You can expand your search to include all quarters

ENGLISH 9CV: Creative Expression in Writing

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. For undergrads only.
Terms: Sum | Units: 3 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

ENGLISH 11AX: Creative Writing: Short Fiction and Storytelling in the Arts

When we look closely at a photograph or painting, a story emerges, but how do we begin to interpret the meaning of that story without narration or passing time? When we listen to music or watch a ballet, we have a sense of emotion and drama, but why? And how has the artist created such things for us?

These questions have great resonance for the fiction writer, who must generate from the most basic tool all the necessities of the short story: drama, character, setting, emotion, and lyricism. In order to write more affecting and beautiful stories, this course will ask us to explore beyond the literary, into the world of the visual and performing arts. We will pair short stories with paintings, films, songs, and performances. As we learn the many ways stories are told and experienced, we will bring these insights into our own work through prompted exercises, improv, games, collaboration, workshop, and revision. In addition to exercises, vignettes, and sketches, each student will complete a short story and have that story critiqued by both her peers and the instructor. Our primary aim in this class will be to make writing a daily practice that considers the work and value of art generally and in that way to take risks, succeed, reflect, revise, fail, and recover from failure.
Terms: Sum | Units: 2 | UG Reqs: WAY-CE | Grading: Satisfactory/No Credit
Instructors: Pufahl, S. (PI)

ENGLISH 14SC: Three Versions of Hamlet

Shakespeare's Hamlet exists in three early editions published in 1603, 1604-05, and 1623. Nearly all modern editions conflate the three into a single text that includes famous or important speeches into a fourth version that would have been unrecognizable to Shakespeare's audience. For instance, the to be or not to be speech is utterly different across the three versions. This course asks what we learn about Shakespeare's play and the culture in which it was written and performed by treating the three versions as distinct texts with their own histories, purposes, and perhaps even world-views. The procedure of the course will be to read the three versions closely and, more often as we move through them, to note their variants and speculate about how these differences might inform a wide-ranging interpretation of Shakespeare's world. A few ancillary readings in textual studies, theater history, and Renaissance culture will cast light on the central questions.
Terms: Sum | Units: 2 | Grading: Letter (ABCD/NP)
Instructors: Greene, R. (PI)

ENGLISH 15SC: A New Millennial Mix: The Art & Politics of the "Mixed Race Experience"

Recently, The New York Times and the National Geographic have hailed the "new face of America" as young, global, and hybrid. The NY Times gave this demographic a name: Generation E.A. (Ethnically Ambiguous). Our course examines the political and aesthetic implications of Generation E.A., and the hot new vogue for all things mixed. Galvanized by the 2000 census with its "mark one or more" (MOOM) racial option, dozens of organizations, websites, affinity and advocacy groups, modeling and casting agencies, television pilots, magazines, and journals--all focused on multi-racial/multi-cultural experiences--have emerged in the last few years. We will analyze representations of mixed race and multiculturalism in law, literature, history, art, performance, film, comedy, and popular culture. These cultural and legal events are changing the way we talk and think about race. Importantly, our seminar also broadens this discussion beyond race, exploring how crossings of the color-line so often inte more »
Recently, The New York Times and the National Geographic have hailed the "new face of America" as young, global, and hybrid. The NY Times gave this demographic a name: Generation E.A. (Ethnically Ambiguous). Our course examines the political and aesthetic implications of Generation E.A., and the hot new vogue for all things mixed. Galvanized by the 2000 census with its "mark one or more" (MOOM) racial option, dozens of organizations, websites, affinity and advocacy groups, modeling and casting agencies, television pilots, magazines, and journals--all focused on multi-racial/multi-cultural experiences--have emerged in the last few years. We will analyze representations of mixed race and multiculturalism in law, literature, history, art, performance, film, comedy, and popular culture. These cultural and legal events are changing the way we talk and think about race. Importantly, our seminar also broadens this discussion beyond race, exploring how crossings of the color-line so often intersect with other aspects of experience related to gender, religion, culture, or class. Field trips, films, communal lunches, and interactive assignments help us explore the current controversies over mixed-race identification and, more generally, the expressive and political possibilities for representing complex identities. Requirements include three two- to three-page analytical writing assignments, a presentation that can include an optional artistic or media component, and a final group-designed project. If you are a citizen of the 21st century, this class is for and about you.
Terms: Sum | Units: 2 | Grading: Letter (ABCD/NP)
Instructors: Elam, M. (PI)

ENGLISH 16SC: Learning Theater: From Audience to Critic at the Oregon Shakespeare Festival

Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's Henry IV1, Henry IV2, Julius Caesar, and The Merry Wives of Windsor; the world premiere of Jiehae Park's Hannah and the Dread Gazebo; Universes' August Wilson's Poetry in UniSon; Mary Zimmerman's adaptation of Homer's The Odyssey; the world premiere of Randy Reinholz's Off the Rails; Disney's Beauty and the Beast, with music by Alan Menken and lyrics by Howard Ashman and Tim Rice; and Shakespeare in Love, based on the screenplay by Marc Norman and Tom Stoppard. (To read more about these productions, go to www more »
Who doesn't love going to a play: sitting in the darkened theater, an anonymous member of the audience waiting to be entertained, charmed, and challenged? But how many of us know enough about the details of the plays, their interpretation, their production, and acting itself, to allow us to appreciate fully the theatrical experience? In this seminar, we will spend 13 days in Ashland, Oregon, at the Oregon Shakespeare Festival (OSF), where we will attend these plays: Shakespeare's Henry IV1, Henry IV2, Julius Caesar, and The Merry Wives of Windsor; the world premiere of Jiehae Park's Hannah and the Dread Gazebo; Universes' August Wilson's Poetry in UniSon; Mary Zimmerman's adaptation of Homer's The Odyssey; the world premiere of Randy Reinholz's Off the Rails; Disney's Beauty and the Beast, with music by Alan Menken and lyrics by Howard Ashman and Tim Rice; and Shakespeare in Love, based on the screenplay by Marc Norman and Tom Stoppard. (To read more about these productions, go to www.osfashland.org). We will also spend time backstage, meeting with actors, designers, and artistic and administrative directors of OSF. Students will read the plays before the seminar begins. In Ashland, they will produce staged readings and design a final paper based on one of the productions. These reviews will be delivered to the group and turned in on Thursday, September 21.nnNote: This seminar will convene in Ashland on Monday, September 4, and will adjourn to Stanford on Sunday, September 17. Students must arrive in Ashland by 4:00 p.m. on September 4. Room and board in Ashland and transportation to Stanford will be provided and paid for by the program.
Terms: Sum | Units: 2 | Grading: Letter or Credit/No Credit

ENGLISH 90: Fiction Writing

The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. May be repeated for credit. Prerequisite: PWR 1 (waived in summer quarter).
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter or Credit/No Credit

ENGLISH 90V: Fiction Writing

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.
Terms: Sum | Units: 5 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

ENGLISH 91: Creative Nonfiction

(Formerly 94A.) 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.
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

ENGLISH 92: Reading and Writing Poetry

Prerequisite: PWR 1. Issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter or Credit/No Credit

ENGLISH 131B: Sexuality and Scandal in the Early Novel

The age of political and scientific revolution between 1660 and 1832 also saw a revolution in storytelling. This course examines experiments in fiction during this period, including titillating secret histories and epistolary novels written as letters. How do these fictions portray gender and sexuality, and how have they influenced the commercial novels that we read today? To approach these questions, we study stories by the first women who made a living as authors; the notorious French bestseller Dangerous Liaisons; and Jane Austen's first published novel, Sense and Sensibility, with an eye to how Austen addresses the genre's scandalous earlier history.
Terms: Sum | Units: 3-5 | Grading: Letter or Credit/No Credit
Instructors: Johnson, E. (PI)
Filter Results:
term offered
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints