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Students will develop their research skills by means of a researched essay or creative project. *Traditional and online sections available Students will attend a live Zoom play as part of their work for the course and learn the art of reading – and writing – a performance review. From these texts, we will uncover tricks and tools that will help in the development of your own unique voice. Instructor: Staff For students who have experience with the basic elements of writing creative nonfiction. You will complete this class with a new ability to interpret the lyrics of the songs you love as well as a new appreciation for poetry. Without Daniel Defoe, no Robert Louis Stevenson or Cormac McCarthy: no Robinson Crusoe (1719), no Treasure Island or The Road. A very tentative, partial author list includes Robert Louis Stevenson, Charlotte Perkins Gilman, Kate Chopin, J.D. By the end of the course, students will understand some of the difficulties posed by attempts to define legend as a genre and have learned strategies for interpreting legend and rumor as meaningful expression. We will begin by approaching each genre (creative nonfiction, poetry and fiction) as readers, analyzing a wide range of styles and forms to better situate ourselves within the current state of contemporary literature. Global, national and local issues of disability in the contemporary world; interdisciplinary approach combines historical, literary, philosophical, scientific and service-oriented analysis of experience of disability. How do researchers study and write about Writing, Rhetoric and Literacy? Finally, we will look at how Henry has been remembered over the last five centuries, especially in recent films, TV shows and fiction. We'll consider matters of narrative structure, scene construction, dialogue, pacing, reflection, persona, voice, reportage, fragmentation and other issues relevant to our consideration of craft. Instructor: Elizabeth Renker Lord Byron - the best-selling poet of his age - single-handedly upended the taste, expectations and literary conventions of nineteenth-century Britain. GE: Cultures and Ideas. For those of you new to these technologies, I will teach you more than you need to know to be successful in this class. The Nicholas. James and Raymond Carver and poems by John Donne, Thomas Gray, Walt Whitman, Emily Dickinson and Tony Harrison. Along the way, we’ll read poetry by Yeats, Elizabeth Bishop and Claudia Rankine; short stories by James Baldwin, Raymond Carver and Nathaniel Hawthorne; and Jesmyn Ward’s novel Salvage the Bones (recipient of the 2011 National Book Award). GE: Literature, ENGLISH-2261: Introduction to Fiction Instructor: Alan Farmer English 2201H: Selected Works of British Literature — Honors Survey of British Literature, Beowulf to 1800 Participants will also learn how to use digital audio recorders, digital still cameras, and digital video cameras to record the stories of research participants in Black Columbus, and all participants will conduct a series of life-history/literacy narrative interviews with members of the community. Students will post comments on the readings every week and these will count as both the midterm and final exam. GE: Cultures and Ideas English 2266 (20): Introductory Poetry Writing. Examination of the elements of fiction—plot, character, setting, narrative, perspective, theme, etc.—and their various interrelations. This course will introduce students to the vibrant, interdisciplinary field of the Environmental Humanities. English 4540: Nineteenth-Century British Poetry English 2268 (10): Introductory Creative Nonfiction Writing Our weekly class work will be a mix of synchronous and asynchronous discussion, short writing assignments, and guided discovery. This session deals with how to cope with inevitable change: how to maintain and rebuild a community, how to find writing and research groups. This course focuses on two turn of the century poets whose importance and influence are second only to that of their contemporary William Shakespeare. In this course we will interrogate and resist standards of beauty, able-bodiedness, and able-mindedness. Along the way we will study changes in print history, including the tools and techniques of making and reproducing graphic images, as well as methods for engaging with both traditional and online archives dedicated to recovering and preserving this history. Thus, such writers like Hemingway, Faulkner, Chopin and Fitzgerald (modern writers), Morrison and Ellison (contemporary writers) all address the diverse nature of life in the twentieth century and beyond. We will begin by approaching each genre as readers, analyzing works by great writers to figure out exactly what they’re doing and how they do it. An introduction to the fundamentals of technique, craft and composition; practice in the writing of creative nonfiction; and analysis and discussion of student work as well as published essays by masters of the many forms of creative nonfiction. This new class celebrates the conclusion to a beloved HBO series. Du Bois, Henry Dumas, Langston Hughes, Zora Neale Hurston, Douglas Kearney, Audre Lorde, Nathaniel Mackey, Toni Morrison, Harryette Mullen, Claudia Rankine, Sonia Sanchez, Evie Shockley and Jean Toomer. Instructor: Cady Vishniac Whom have they claimed as their predecessors, ancestors or antagonists? GE: Literature, English 3378: Special Topics in Film and Literature — Monsters Without and Within This intermediate fiction class will explore flash fiction (generally considered to be fiction 250-1000 words in length) as well as other forms of short fiction. You will learn college-level strategies for analyzing literature, including reading a text with an eye for fine detail (a.k.a. It was for this space and for these people that William Shakespeare first wrote his influential plays, and in this course, we'll be imagining what it was like to stand with them and watch Shakespeare's theater in action. English 1109: Intensive Writing and Reading Instructor: Adeleke Adeeko GE: Writing and Communication—Level 1, English 1110.03 (10, 30): First-Year English Composition — Belief and the Supernatural Instructor: David Riede Open to English majors only or others by department permission. Browse our listings to find jobs in Germany for expats, including jobs for English speakers or those in your native language. Some of our authors (tentative): William Blake, Mary Kingsley, Mary Wollstonecraft, John Keats, Christina Rossetti, Charlotte Bronte, Olive Schreiner, Oscar Wilde, Wilfred Owen, Virginia Woolf, Una Marson, Ngugi wa Thiong'o and Kazuo Ishiguro. The selected works will help us examine elements of fiction, such as point of view, setting, character, theme, tone, style and diction. In a group project we'll survey what has been happening lately to the fairy tale plot in popular culture. The instructor will train you in a core group of analytical methods that will enable you to understand how fiction works. Discussion and practice of the conventions, practices and expectations of scholarly reading of literature and expository writing on issues relating to diversity within the U.S. experience. Repeatable to a maximum of 9 cr hrs or 3 completions. This class will introduce students to a variety of "methods" for literary studies. The aim of this course is to prepare undergraduates to work with writers from diverse backgrounds and disciplines. This is the advanced creative writing workshop in fiction. Films include Reluctant Fundamentalist and Mississippi Masala. We will read both some legal materials and some literature that represents law in action. Students will develop their research skills by means of a researched essay or creative project. Most important among these is that plays performed on stage entail layers of interpretation. This introduction to fiction course will focus on authors from the United States who have a variety of backgrounds. If you have many products or ads, create your own online store (e-commerce shop) and conveniently group all your classified ads in your shop! Requirements will include a series of Carmen quizzes, three short essays and a final exam. Insulting others or violating Reddit site-wide rules is grounds for a ban. Guiding questions: How should we approach Shakespeare? Study of the origins, definitions and development of writing, including historical, cultural, technological, theoretical and/or ideological issues. GE: Diversity (Social Diversity in the U.S.) Instructor: Martin Ponce *This is a combined section class. Then this is the course for you! Experience Unfortunately, it can also be notoriously difficult to follow, interpret or even understand the Bible's strange language. Edmund Spenser’s The Faerie Queene is a rollicking adventure story, a powerful national epic, a searching philosophical meditation and guide for moral conduct, a profound exploration of renaissance theology, a pointed critique of traditional attitudes toward gender and class, a wildly imaginative work of fantasy, and a deeply beautiful poem unto itself – this is unquestionably one of the most fascinating and complex works in all of English literature. Instructor: Elizabeth Hewitt Folklore theory and methods explored through engagement with primary sources: folktale, legend, jokes, folksong, festival, belief, art. Analyze writing discourse that shapes professional organizations. I'd say he's not yet past his use-by date, and in this course we'll see why he still hits the spot, reading plays in the major dramatic genres in which he wrote - comedy, history, tragedy and what later came to be called romance - as well as some of his poems; we'll also do some ancillary critical reading. In this course, we’ll read and analyze poems by various established poets and discuss student work as well. GE: Writing and Communication (Level Two). Students learn basic characteristics of English linguistics focusing on the basic building blocks of language: the sounds of English and how they are put together, word formation processes and rules for combining words into utterances/sentences. One answer lies in genre, the fact that unlike drama on the London stage, which was performed in front of a live and therefore potentially dangerous audience, the novel, a new consumer item of the eighteenth century, was considered private, and was not censored for its incendiary content. First year class size: 352 (extremely large). Depictions of monstrosity abound in historical texts and artwork as well as in contemporary film trailers, video games, and writing (both fictional and nonfictional), and participants will have the opportunity to develop their own research topics, ultimately crafting an argument for what is at stake in their chosen sources. GE: Cultures and Ideas English 3271 (20): Structure of the English Language English 4564.02: Major Author in Eighteenth- and Nineteenth-Century British Literature— Charles Dickens' Bleak House English-1193: Individual Studies Instructor: Christopher Highley Intensive practice in the fundamentals of expository writing. Instructor: Staff Students will be asked to do a hefty amount of reading in preparation for a discussion-based class. We value excellent academic writing and strive to provide outstanding essay writing service each and every time you place an order. Throughout the term, we will focus on detailed analysis of films, analyzing closely the ways in which the multiple elements of moviemaking come together to make, and complicate, meaning.Introduction to methods of reading film texts by analyzing cinema as technique, as system, and as cultural product. If you are an honors student who has taken English 2265, 2266, 2267, or 2268, you will not need Professor Herman's permission to register for the course. This class explores forms of traditional, vernacular culture—including verbal art, custom and material culture—shared by people from a number of regional, ethnic, religious and occupational groups. Students will be evaluated by reading quizzes, short essays, and a final creative project. English 4553: 20th-Century U.S. Fiction Students work on-site in an organization doing writing-related work and meet weekly to discuss related topics. This course will begin with an intensive study of Shakespeare's magical desert island Romance "The Tempest" in its own time (being performed this spring by the English Department's Lord Denney's Players), as well as its background in tales of New World encounters (including Montaigne's essay "On Cannibals"), utopian fantasies, and stories of sorcerers and magic. We will talk about media storage options on the first day of class. He's certainly the most influential. Our readings will span literary history, as well as diverse cultural and social perspectives. In this course, students will explore how digital culture enables physical objects to argue, both in the production of new genres of written text and in their interactions with people and the environment. Instructor: Koritha Mitchell GE: Literature This course will explore Shakespeare's plays from many different perspectives, but we will pay particular attention to their language, beginning with a cluster of particularly rich poetic plays written in the mid-1590s and then turning to several of the greatest Jacobean tragedies. GE: Literature, English 3372 (40): Science Fiction and/or Fantasy — Magic For students who have experience with the basic elements of writing poetry. Instructor: William White Throughout, we will examine the vital intersections of an array of fields and practices: film studies, narratology, literature, media studies, visual culture and the segmented organization of experience. Instructor: James Fredal All other inquiries about BU, academics, and student life are welcome. You'll practice reading texts with an eye for fine detail (a.k.a. Coleridge, P.B. — and their various interrelations. The second half of the course will focus on the embodied struggles and cultural and political strategies of transgender communities. This is a first-year writing course with a focus on literature. We may also ask what these centuries-old religious expressions mean for us in twenty-first century America. Lewis and J.R.R. Instructor: Martha Sims Not the whole thing, but much of it, to understand what it says, what it doesn’t say, and what it means. Materials: You will not be asked to purchase a textbook for this class. GE: Diversity (Social Diversity in the U.S.); Writing and Communication—Level 2, English 2367.02: Literature in the U.S. But what happens when we lose faith in the game? English 4567S: Rhetoric and Community Service You’ll receive assistance from me and your classmates regarding your writing for a nonprofit organization with whom I’ll pair you during the first few course meetings. Instructor: Staff Instructor: Kristin Ferebee Extends and refines expository writing and analytical reading skills, emphasizing recognition of intertextuality and reflection on compositional strategies on topics pertaining to education and pop culture in America. Paradise Lost is at the heart of Melville’s Moby Dick, Salman Rushdie’s Satanic Verses, Philip Pullman’s fantasy trilogy His Dark Materials and Toni Morrison’s A Mercy. We’ll look at historical change through the prism of celebrated folklore forms such as Louisiana Mardi Gras, Appalachian fairy tales, and the Tex-Mex corrido. GE: Diversity (Global Studies), English 2220H: Introduction to Shakespeare An introduction to the theory and practice of editing and publishing literature. Taught with an emphasis on literary texts. English 3398 (60): Methods for the Study of Literature. This semester we will explore one particular situation: our encounter with poems published in a collection of other poems by the same poet. To be enrolled in this class, you must also be enrolled in 1193. ENGLISH-2268: Introductory Creative Nonfiction Writing This discussion and lecture class will study selected Anglophone fiction, poetry, film, music and video produced by artists who came onto their own as culture leaders in the 21st century and among whom a small, forceful segment has termed the group's outlook on the world as Afropolitan. Often challenging, often weird, but always sexy, the poetry of this course will prove an exciting introduction to the study of verse. Our main goals this semester are to make you a better rhetor through service to a nonprofit organization and to support the communication needs of the organization. We'll read Nick Hornby, Stephen Sondheim, Rosanne Cash, Vikram Seth, Ellen Willis, Lavinia Greenlaw, Lin Manuel-Miranda and more. Instructor: Jennifer Higginbotham In addition to some critical and historical essays on the early modern theater and culture, we will likely read some combination of the following plays: Richard III, A Midsummer Night's Dream, Much Ado About Nothing, Measure for Measure, Romeo and Juliet, Othello, King Lear, The Winter's Tale and Pericles. GE: VPA, ENGLISH-2264: Introduction to Popular Culture Studies Instructor: Merrill Kaplan Open to English majors only or others by department permission. This course considers selected works of English literature written during the "medieval period" (c. 500-1450). English 2261 will be taught this semester as an introduction to twentieth-century fiction. *Traditional and online sections available This course will offer an introduction to the most exciting and memorable literature written in English prior to 1800, which is to say, prior to the invention of most of our standard ideas about literature. Instructor: Marcus Jackson GE: Literature, English 3364: Special Topics in Popular Culture — History of the Comic Book in the U.S., 1933-2017 Cross-listed in Comparative Studies, English 2264 (20): Introduction to Pop Culture Studies 96 talking about this. Emphasis on the style, organization and conventions of technical and research reports, proposals, memoranda, professional correspondence, etc. We will first read each of the main texts - Theodore Dreiser's Sister Carrie, F. Scott Fitzgerald's The Great Gatsby, Walter Tevis' The Hustler, and Patricia Highsmith's The Talented Mr. Ripley - conventionally: analyzing the novels' plots, characters, central themes - just as you would expect from any upper level English course. Collecting and analyzing literacy narratives (or literacy stories) is an important research strategy that can be used to document the history and current activities of any community. Where is television going as an art form in the 21st century? Close links between these forms of art date back to the ancient world. We'll also try talking and writing about them. An introduction to the fundamentals of technique, craft and composition; practice in the writing of creative nonfiction; and analysis and discussion of student work as well as published essays by masters of the many forms of creative nonfiction. Students will be evaluated by reading quizzes, short essays, and a final creative project. No background in technical content areas or technical writing is required to do well in this class. Extends and refines expository writing and analytical reading skills, emphasizing recognition of intertextuality and reflection on compositional strategies on topics pertaining to education and pop culture in America. English 3468: Special Topics in Intermediate Creative Nonfiction Writing As students at The Ohio State University, you encounter on a daily basis people who do not share your particular racial identity, national or ethnic background, language, gender, social class, or other characteristics of your identity. Exiled in Europe, he helped introduce vampires to the English-speaking world, and his famous ghost story challenge led Mary Shelley to write Frankenstein. English 2220: Introduction to Shakespeare — Reading Shakes in Performance Tolkien up through Lloyd Alexander, Ursula K. LeGuin, J.K. Rowling, Diana Wynne Jones and N.K. The most significant part of this course focuses on the “P” word: production. Students work onsite in an organization doing writing-related work and meet weekly to discuss related topics. An introduction to the fundamentals of technique, craft and composition; practice in the writing of fiction; and analysis and discussion of student work as well as published stories by masters of the genre. English 4563: Contemporary Literature New sects sprang up across the country: Baptists, Presbyterians, Quakers, Levellers, Diggers, Ranters, Familists, Fifth Monarchists, Grindletonians, Philadelphians, Muggletonians and Dissenters of all sorts, along with more mainstream Puritans and traditional Anglicans. Without the gothic fictions of Horace Walpole and Matthew Lewis and Anne Radcliffe, no Edgar Allen Poe, no Stephen King, no Nightmare on Elm Street. Students will look at techniques for understanding why the Bible looks the way it does, and some traditional methods of biblical interpretation. From text messages to viral videos, we use mobile composing practices to complete everyday tasks while expressing ourselves and engaging our communities. English 2367.05: The U.S. 2. Students have suggested that it would be helpful for me to include an introduction to the basics of poetic form, such as how to detect and identify meter, so we will learn and review those concepts and continue to practice with examples as our class progresses. Instructor: David Bukszpan Study of principles and practices of technical writing. Together, these fields examine and analyze phenomena, texts and other artifacts in educational contexts, popular culture, and social and political movements. A program of reading arranged for each student, with individual conferences, reports and a paper and/or thesis. A recurring subject for the class will be the tension between the episodic and the serial - between individual aesthetic experiences and sprawling fictional universes. Instructor: Molly Farrell GE: Writing and Communication—Level 1. Study of selected plays designed to give an understanding of drama as theatrical art and as an interpretation of fundamental human experience. 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