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31 - 40 of 187 results for: ENGLISH ; Currently searching offered courses. You can also include unoffered courses

ENGLISH 19Q: I Bet You Think You're Funny: Humor Writing Workshop

Nothing is harder than being funny on purpose. We often associate humor with lightness, and sometimes that's appropriate, but humor is inextricably interlinked with pain and anger, and our funniest moments often spring from our deepest wounds. Humor can also allow us a platform for rage and indignation when other forms of rhetoric feel inadequate. This workshop will take students through the techniques and aesthetics of humor writing, in a variety of forms, and the main product of the quarter will be to submit for workshop a sustained piece of humor writing. For undergrads only.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Porter, E. (PI)

ENGLISH 21Q: Write Like a Poet: From Tradition to Innovation

In this poetry workshop, we will spend the first half of the quarter reading and writing in traditional forms and the second half innovating from those forms. When discussing poetry, what do we mean when we talk about craft? What is prosody and why is it important? What are the relationships between form and content? What does a modern sonnet look like? We will consider how a writer might honor a tradition without being confined by it. The culmination of the course will be a project in which the student invents (and writes in) a form of their own. All interested students are welcome¿beginners and experts alike.
Terms: Sum | Units: 3 | UG Reqs: WAY-CE

ENGLISH 22Q: Writing Mystical, Spiritual, and Altered Experiences

Because mystical, spiritual, and altered states of experience have always been a part of human life, we've always been trying to write about them. While some try to claim these subjects are frivolous, dated, or even dangerous, writers keep coming back to them, including some of the best writers of our time. Lucky for us, the results have been exhilarating. In this class, we'll look at a range of writers and forms to understand how these ancient subjects are handled in the contemporary context, including works by journalists Michael Pollan and Jia Tolentino, Scientists Robin Wall Kimmerer and Oliver Sacks, fiction writers Denis Johnson and Hillary Mantel, and poets Max Ritvo and Christopher Wiman. Most importantly, we'll write our own pieces of questioning, exploration, and awe.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Brewer, W. (PI)

ENGLISH 23Q: First Chapters: Please Allow Me to Introduce My Novel

In this course we¿ll explore how an effective first chapter immerses us in the voice of the narrator, introduces a series of themes and problems, indicates character desires and fears, and most importantly enchants and inspires its readers. We¿ll write short reaction papers and hold discussions in small and large groups. In the second half of the quarter, students will compose their own first novel chapter of around 8-12 pages, and we¿ll workshop them in class. The final goal is to have a revised first chapter, a short outline for the rest of a book, and an increased knowledge of writing original and irresistible opening chapters.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Kealey, T. (PI)

ENGLISH 24Q: Leaving Patriarchy: A Course for All Genders

This is a creative writing course for writers of all genders who are interested in thinking about patriarchy and how to resist it. Our course will aim to complicate the idea that men benefit from patriarchy and are its primary enforcers, while the rest of us are simply suffering under it. We'll ask ourselves how patriarchy is bad for ALL of us, and how ALL of us are implicated in its perpetuation. Do we ALL have the reasons and the resources to leave patriarchy--and can we start to leave it right now? We'll read works of scholarship and literature that investigate patriarchy as a human relational problem. We'll write fiction and nonfiction in which we explore the ways patriarchy has shaped us, challenge ourselves to resist its manifestations in our relationships, envision a future without patriarchy, and begin to live that future right now. Most crucially, we will practice creating a space in which all of us can speak without fear of judgment about our experiences of a fraught topic.
Terms: Win | Units: 3 | UG Reqs: WAY-CE

ENGLISH 30N: Character

"I have a dream..." How do loose bits of textual material transform into literary characters of heft and substance? Before reflecting on the "rounded" characters associated with novels and more recent genres of writing, this class will survey a handful of ancient, medieval, and early modern texts to consider alternative models of the literary subject. We will have occasion to consider texts that primarily deploy characters as embodiments of concepts or ideals, and will think critically, too, of historical movements that have formed our taste for literary figures of flesh and blood. A focus on the implied people of texts requires a reckoning with social categories and ethical distinctions more generally. We will thus read throughout with an eye toward the literary and sociopolitical structures that make it possible to perpetuate--if not to realize--the fantasy of knowing others "by the content of their character."
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-ER
Instructors: Yu, E. (PI)

ENGLISH 31N: Love and Death

How do we put into words the ineffeable emotions generated by love and grief? How have writers, across centuries and many different literary traditions, sung the praises of a beloved, or lamented the ache of loss? In this hybrid literature and creative writing course, we will alternate between the close-reading of model texts, and generating original poetry and prose written under the influence of literary heroes.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Phillips, P. (PI)

ENGLISH 33N: A Way of Life: Historic Journeys to Sacred Places

In a world of touchscreens and instant knowledge, going on a journey for the good of the soul might seem weird. But pilgrimage has witnessed a huge resurgence. Why? We'll study the global pilgrimage through its long history, constructing tour guides and maps for visiting the world's most sacred places. From Italy to Japan to India to Saudi Arabia and Britain, these often-spectacular routes inspire and test travelers. What motivates these journeys? What happens once we get there?
Terms: Sum | Units: 3 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Treharne, E. (PI)

ENGLISH 39Q: Were They Really "Hard Times"? Mid-Victorian Social Movements and Charles Dickens (HISTORY 39Q)

"It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it." So begins Charles Dickens description of Coketown in Hard Times. And it only seems to get more grim from there. But the world that Dickens sought to portray in the novel was a hopeful one, too. And that tension is our starting point. The intent of this class is to more closely examine mid-Victorian Britain in light of Dickens' novel, with particular focus on the rise of some of our modern social movements in the 19th century. While things like the labor movement, abolitionism, feminism, and environmentalism, are not the same now as they were then, this class will explore the argument that the 21st century is still, in some ways, working out 19th century problems and questions. At the same time, this is also a course that seeks to expand the kinds of sources we traditionally use as historians. Thus, while recognizing that literary sources are particularly complex, we will use Hard T more »
"It was a town of red brick, or of brick that would have been red if the smoke and ashes had allowed it." So begins Charles Dickens description of Coketown in Hard Times. And it only seems to get more grim from there. But the world that Dickens sought to portray in the novel was a hopeful one, too. And that tension is our starting point. The intent of this class is to more closely examine mid-Victorian Britain in light of Dickens' novel, with particular focus on the rise of some of our modern social movements in the 19th century. While things like the labor movement, abolitionism, feminism, and environmentalism, are not the same now as they were then, this class will explore the argument that the 21st century is still, in some ways, working out 19th century problems and questions. At the same time, this is also a course that seeks to expand the kinds of sources we traditionally use as historians. Thus, while recognizing that literary sources are particularly complex, we will use Hard Times as a guide to our exploration to this fascinating era. We will seek both to better understand this complex, transitional time and to assess the accuracy of Dickens' depictions of socio-political life.nnnThrough a combination of short response papers, creative Victorian projects (such as sending a hand-written letter to a classmate), and a final paper/project, this course will give you the opportunity to learn more about the 19th century and the value of being historically minded.nnnAs a seminar based course, discussion amongst members of the class is vital. The class will be delivered online using a combination of both synchronous and asynchronous modes. All students are welcome
Terms: Spr | Units: 3 | UG Reqs: WAY-ER, WAY-SI

ENGLISH 40N: Theatrical Wonders from Shakespeare to Mozart

What is the secret of theatrical illusion? How does the theater move us to wonder, sympathetic identification, and reflection? How can the theater help society understand and manage social conflict and historical change? We will ask these questions through a close examination--on the page and on the stage--of dramatic masterpieces by Shakespeare and Mozart. We will attend live performances of Gounod¿s opera Romeo and Juliet and of Mozart¿s opera The Marriage of Figaro. No prior knowledge of music or foreign languages is required; neither is prior experience in theatricals.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II
Instructors: Hoxby, B. (PI)
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