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ENGLISH 81: Philosophy and Literature (CLASSICS 42, COMPLIT 181, FRENCH 181, GERMAN 181, ITALIAN 181, PHIL 81, SLAVIC 181)

What, if anything, does reading literature do for our lives? What can literature offer that other forms of writing cannot? Can fictions teach us anything? Can they make people more moral? Why do we take pleasure in tragic stories? This course introduces students to major problems at the intersection of philosophy and literature. It addresses key questions about the value of literature, philosophical puzzles about the nature of fiction and literary language, and ways that philosophy and literature interact. Readings span literature, film, and philosophical theories of art. Authors may include Sophocles, Dickinson, Toni Morrison, Proust, Woolf, Walton, Nietzsche, and Sartre. Students master close reading techniques and philosophical analysis, and write papers combining the two. 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 | Grading: Letter or Credit/No Credit

ENGLISH 82N: Thinking about Photographs

The course will begin with a short history of photography since the 19th century; followed by both a hands-on exploration of different types of photographs (possibly using the Cantor Collection) and then a more theoretical discussion of some of the acknowledged classics of photographic writing (Susan Sontag's On Photography, Roland Barthes' Camera lucida, Linfield's The Cruel Radiance.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Castle, T. (PI)

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 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: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
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. May be repeat 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 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 93Q: The American Road Trip

From Whitman to Kerouac, Alec Soth to Georgia O¿Keeffe, the lure of travel has inspired many American artists to pack up their bags and hit the open road. In this course we will be exploring the art and literature of the great American road trip. We will be reading and writing in a variety of genres, workshopping our own personal projects, and considering a wide breadth of narrative approaches. Assignments will range from reading Cormac McCarthy¿s novel, The Road, to listening to Bob Dylan¿s album, ¿Highway 61 Revisited.¿ We will be looking at films like Badlands and Thelma and Louise,¿acquainting ourselves with contemporary photographers, going on a number of campus-wide field trips, and finishing the quarter with an actual road trip down the California coast. Anyone with a sense of adventure is welcome!
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

ENGLISH 94: Creative Writing Across Genres

For minors in creative writing. The forms and conventions of the contemporary short story and poem. How form, technique, and content combine to make stories and poems organic. Prerequisite: 90, 91, or 92.
Terms: not given this year, last offered Spring 2017 | Units: 5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

ENGLISH 94Q: The Future is Feminine? (FEMGEN 94Q)

Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may¿in this important time¿write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine¿across the entire spectrum of gender, sex, and identity¿and how we write about femininity, using other writers as models and inspirati more »
Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may¿in this important time¿write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine¿across the entire spectrum of gender, sex, and identity¿and how we write about femininity, using other writers as models and inspiration. As we engage with these other writers, we¿ll think broadly and bravely, and explore the expressive opportunities inherent in writing. We¿ll explore our own creative practices through readings, prompted exercises, improv, games, collaboration, workshop, and revision, all with an eye toward writing the feminine future.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Pufahl, S. (PI)

ENGLISH 108: Disability Literature (HUMBIO 177)

This course explores literary and filmic narratives about disability in the Global South. Authors including Edwidge Danticat, Bapsi Sidhwa, and Ricardo Padilla highlight the unique aesthetic potential of what Michael Davidson calls the defamiliar body and Ato Quayson describes as aesthetic nervousness. While engaging universal issues of disability stigma, they also emphasize the specific geopolitics of disability how people in the Global South face greater rates of impairment based on unequal exposure to embodied risk. The course particularly welcomes students with interests in fields of medicine, policy, or public health.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Kantor, R. (PI)
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