231 - 240 of 276 results for: ENGLISH

FOR GRADUATE STUDENTS (undergraduates enroll in 119) Most of the time, writing a pitch for a popular outlet just means writing an email. So why be intimidated? This course will outline the procedure for pitching essays and articles to popular media: how to convince an editor, agent, or anyone else that your idea is compelling, relevant, and deliverable. We'll take a holistic approach to self-presentation that includes presenting yourself with confidence, optimizing your social media and web platform, networking effectively, writing excellent queries and pitches, avoiding the slush pile, and perhaps most importantly, persevering through the inevitable self-doubt and rejection.We will focus on distinguishing the language, topics and hooks of popular media writing from those of academic writing, learn how to target and query editors on shortform pieces (personal essays, news stories, etc.), and explore how humanists can effectively self-advocate and get paid for their work.

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.

This course will introduce graduate students to several competing concepts of world-circulating literatures and methodologies for studying them. As the title suggests, the course introduces students to more established ideas of "World Literature", concepts around "globalization" and its distinction from the World category, as well as ideas of Planetarity, including ecocritical approaches.

What is Utopia and why does it generate so many different versions of itself, including, most powerfully, negations of itself as dystopia? As a vision of human perfectibility, Utopian literature has from its inception in Thomas More's Utopia (1517) been concerned with the social nature of humanity. It is always therefore political in nature. Almost exactly contemporaneous with the defining moments of the modern era (the conquest of the Americas, Machiavelli and modern politics, the emergence of modern literature in Cervantes, Luther and modern consciousness, printing and the beginning of the modern public sphere), Utopia is also unavoidably a product of the literary and imaginary worlds. Concerned with the development of Utopian and anti-Utopian thinking in the modern world, we will see how issues of science and technology, race and sexuality, freedom and determination, and salvation and apocalypse are embedded in the history of utopian literature and contemporary science fiction. Why did the modern world develop as it did? Can we imagine alternative worlds and histories? As future-oriented thinking, how does utopian literature offer possibilities for a better life? As a forum for future thinking Utopia also offers a platform for thinking anew the working of race and racial formations as well as constructions of gender in the contexts of what has been called "the Subject of Utopia." This course addresses the poetics and generative power of classic Utopian forms to examine how differing aesthetics as well as differing conceptions of history are linked fundamentally to the possibility of reshaping conceptions of race and gender in sustainable future orientations. Concerned with understanding how the traditional forms of the novel are altered in the context of the contemporary drive to represent a new stage in global and hemispheric race relations as well as by the forces of global climate change and the imperatives of decolonization, our readings will investigate how contemporary versions of literary realism change to represent the experiences of the crises of our time and the need to imagine alternative futures.

What is the value and use of engaging deeply with a single author's work? Each member of the seminar will select an author to focus on for the quarter based on their own research interests, and read a substantial body of the work of whatever author you choose. As a group, we will organize our discussion by themes that can unite many writers: the canonical anthology piece, the 'forgotten' minor work; historical context. We'll also address collaboration and other challenges to the individual author as a meaningful object of study. This seminar will also provide practice in engaging in scholarly conversation that does not revolve around shared primary texts.

The course elucidates sixteenth-century English poetry in a continental context. While narrative and discursive poetry will be explored, the emphasis is on lyric poetry, and the continuous focus is on generic experimentation from several distinctive standpoints: e.g. Petrarchism; the plain style; psalters, religious lyrics, and contrafacta; lyric sequences and other fictions of scale; and socially (but not necessarily poetically) marginal voices. Even where the course broaches conventional material, there will be an effort to redefine the questions that animate the field.

British literature of the long 18th century

A study of major theories of the baroque by theorists such as Wolfflin, Croce, and Benjamin together with a close reading of baroque tragedies by Tasso, Milton, Shakespeare, Calderon, Racine, Joseph Simon, and others.

This course serves as the Core Seminar for the PhD Minor in Philosophy, Literature, and the Arts. It introduces students to a wide range of topics at the intersection of philosophy with literary and arts criticism. The seminar is intended for graduate students. It is suitable for theoretically ambitious students of literature and the arts, philosophers with interests in value theory, aesthetics, and topics in language and mind, and other students with strong interest in the psychological importance of engagement with the arts. In this year's installment, we will focus on issues about the nature of fiction, about the experience of appreciation and what it does for us, about the ethical consequences of imaginative fictions, and about different conceptions of the importance of the arts in life more broadly. May be repeated for credit.