301 - 310 of 388 results for: ENGLISH

Memoirists, autobiographers and novelists are commonly advised or advise others to "write what you know." But how do you know what you know? And what, when it comes down to it, are "you" once you are put on the page, a human document? This course will examine the intersecting genres of fiction, autobiography, and memoir. Topics will include the literary construction of selfhood and its constituent categories; the role of language in the development of the self; the relational nature of the self (vis-à-vis the family, "society," God); the cultural status of "individuality"; conceptions of childhood; race, nationality, and sexuality; and the role of individual testimony in our understanding of family, religious, historical, and cultural identity.

In this course, we will spend time reading, discussing and embodying the writings of poet, essayist, philosopher and activist, Audre Lorde. A prolific writer and thinker, Lorde's work focuses on practices rooted in the role of self-care in revolutionary politics, rescuing ourselves and each other from hegemonic forces, and building the components necessary for a life of liberatory politics. Through a process grounded in movement, and dialogue we will explore how the words of Audre Lorde can literally move us towards freedom and self recovery.   This course is presented by the Institute for Diversity in the Arts, IDA.

Workshop critique of original short stories or novel.

English 291 takes as its occasion for your creative and critical development an examination of essays and book excerpts in various creative nonfiction subgenres. These essays and excerpts work within traditional and innovative forms to find new and exciting ways to represent personal experience. This course also serves as the continuing examination and practice of creative nonfiction in English 191. You will write, workshop, present to the class, and revise drafts of work. All workshops will serve as the springboard for larger class conversations about theme and craft. 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. All prompts will move you toward a culminating project of realizing either an essay to submit for possible publication or a draft book-length synopsis and outline. This course is designed for students who have completed English 191. Students who have completed creative nonfiction writing course elsewhere or who have extensive other writing workshop experience may petition the instructor for enrollment. Energetic, committed participation is a must.

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.

The focus of the course will be both on the generation of new work and on strategies to solve artistic problems through studies in poetic craft.

In this reading- and writing-intensive course, we will consider the powers, resuscitations, and strategies found in the texts of a constellation of contemporary Black poets whose work emerges out of Black feminist thought and practices. My hope is that we will together listen toward the possibilities of this work, and through experiments in reading and writing, realize some of what these texts make it possible for us to think and feel and write and be. As a way of learning with the materials, class participants will be expected to write after-texts; share brief, prepared notes on the poem's paths; contribute workshop material for our workshops; and be ready to think with others about revision strategies, poetics, and ethics.

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project. Enrollment limited. A core course for the Translation Studies Minor.

An introduction to the essential tool-kit for medievalists, this course will give all medievalists a great head start in knowing how to access and interpret major works and topics in the field. Stanford's medieval faculty will explain the key sources and methods in the major disciplines from History to Religion, French to Arabic, English to Chinese, and Art History to German and Music. In so doing, students will be introduced to the breadth and interdisciplinary potential of Medieval Studies. A workshop devoted to Digital Technologies and Codicology/Palaeography will offer elementary training in these fundamental skills.