| Note:
Text highlighted in red indicates
that a change has been made to the course listing. The red
text indicates the current, updated information. |
WRITING SEMINARS |
| 220.105 (H)
(W) |
INTRODUCTION TO FICTION AND POETRY WRITING I: TELLING IT STRAIGHT (3) Staff
Limit 17 per section This course is a prerequisite for most upper level
courses
Note: Section 03 is limited to Writing Seminar=s majors A course in
the arts of realist fiction and traditional verse, with reading
in American literature, most recently: Eudora Welty, Vladimir
Nabokov, Henry James, Donald Justice, Robert Frost and Gwendolyn
Brooks. Students will learn to read as writers; they will compose
short stories and poems of their own. Classes meet two or three
times a week with a day set aside for a writing workshop. This
course is part one of the year-long Introduction to Fiction and
Poetry, and must be taken before 220.106 |
Sec. 01
02
03
04
05
06
07
08
09
10
11
12 |
MTW 9
MTW 10
MTW 12
MTW 12
MTW 12
MTW 12
MTW 12
MTW 12
MTW 12
ThF 9-10:30
ThF 10:30-12
ThF 10:30-12 |
| 220.106 (H)
(W) |
INTRODUCTION TO FICTION AND POETRY WRITING II: TELLING IT SLANT (3)
Staff Prereq: 220.105
Limit 17 per section This course is a prerequisite for most upper level
courses
Note: Sections 02 is limited to Writing Seminar=s majors A course in the counter-traditional arts of anti-realist fiction, free
verse, and the prose poem, with readings in 20th Century world
literature (Virginia Woolf, Franz Kafka, Italo Calvino, Francis
Ponge, William Carlos Williams, Russell Edson). This course will
follow the format of 220.105, IFP
I, and should be taken after the completion of 220.105. |
Sec. 01
02
03
04
05
06
07
08
09
10
11 |
MTW 9
MTW 12
MTW 12
MTW 12
MTW 12
MTW 12
MTW 12
ThF 9-10:30
ThF 10:30-12
ThF 10:30-12
MTW 9 ThF 10:30-12 |
| 220.109 (H)
(W) |
INTRODUCTION TO FICTION AND POETRY III: TELLING IT SEPARATE, TELLING IT TOGETHER
(3) Basford Limit 25 Prereq: 220.105 & 106 (concurrent 106 if
possible) Poetry and fiction considered
as social and public enterprises. Discussion and practice of style and technique integrated with writing through
questions of insularity and openness. Kafka, Woolf, Saramago,
Forster, Whitman, Williams, Moore, Warren, among others. |
Sec. 01 |
T 1-3 |
| 220.142 (H) |
INTRODUCTION TO POETRY WORKSHOP (3) Basford Perm. Req=d. Limit 14 A discussion and critical evaluation of the work of a number
of contemporary poets in conjunction with a workshop concentrating
on student poems. |
Sec. 01 |
Th 1-3 |
| 220.146 (H)
(W) |
UNDERGRADUATE WORKSHOP IN SCIENCE WRITING (3) Huang Limit 14 Science
writing is science written in plain English and told as a story.
Students research, write, edit others, rewrite. They also analyze
published stories for structure, substance, accessibility, and
clarity. |
Sec. 01 |
M 12-2 |
| 220.192 (H) |
RUDIMENTS OF FICTION (3) Dixon/Barry Limit 14 per section Perm. Req=d. Prereq: 220.105-106 An introductory workshop in the fundamentals of prose fiction.
Frequent written exercises in the elements of description, characterization,
dialogue, reflection, narrative viewpoint, etc., with supplementary
readings in conventional and unconventional short fiction. |
Sec. 01
02 |
M 3-5
M 3-5 |
| 220.300 (H) |
ACTING AND DIRECTING WORKSHOP I (3) Astin/Dunn An
introduction to the fundamentals of acting through exercises,
improvisation and work on scenes from established plays, based
on the teachings of Stanislavsky, Greet, Michael Chekhov, Clurman
and Meisner. Students should appear for a brief, informal interview
and recitation of a monologue (one-minute or less- any material
of your choice) on Saturday, November 13th, between 10:00 am and
12:00 noon at the Merrick Barn. Sec.03 added 02/10/05 |
Sec. 01
02
03 |
MTW 11
MTW 12
MTW
10 |
| 220.301 (H) |
ACTING AND DIRECTING WORKSHOP II (Section 1-3credits) (Section 2-1 credits) Astin/Dunn/ Glossman Prereq:
220.300 The Sanford
Meisner repetition exercises are introduced. They form the basis
of Workshop II. The Uta Hagen exercises are also pursued. As in
Workshop I, the principal classroom activities will consist of
scene work, exercises, lectures, and discussion. Some rehearsal
will also take place during school hours. It is expected that
substantial out-of-class time be spent on rehearsals and exercises.
Directing students will begin to direct actors. |
Sec. 01
02
|
MW 4:30-6pm
M 6-8:30pm |
| 220.302 (H) |
ACTING AND DIRECTING WORKSHOP III (Section 1-3credits) (Section 2-1 credits)
Astin/Glossman
Prereq: 220.301
Special attention is given to the development
of spontaneity and emotional freedom using the principles of Workshops
I and II. Hands on work with John Astin’s “The Process” and the
second Silverberg workbook are employed, along with the Uta Hagen
text. Boleslavsky and Michael Chekhov are introduced. The Clurman,
Meisner, Stanislavsky and Strasberg approaches are included.
Substantial out of class time is required. |
Sec. 01
02 |
MW 2-3:20
M 6-8:30pm |
| 220.303 (H) |
ADVANCED PLAYWRITING (3) Lapadula Perm. Req'd. Limit 14 Intensive workshop
development of one play. |
Sec. 01 |
F 12:30-2:30 |
| 220.308 (H) |
RUSSIAN SHORT STORY (3) Frydman
Perm. Req'd. Limit 15 A discussion seminar designed as both a study of the
short story form so well used by many Russian writers, and of
those writers themselves. Readings will include works of Pushkin,
Gogol, Turgenev, Tolstoy with heaviest emphasis on works of Chekhov,
and Babel. In the last weeks we will be looking at possible influences
on American writers. |
Sec. 01 |
Th 12-2 |
| 220.310 (H)
|
DRAMATIC AND NARRATIVE POETRY WORKSHOP (3) Irwin Perm. Req'd. Limit
10 Intensive practical training in writing blank verse for plays and longer narratives, with
models taken from Elizabethan plays and from modern dramas by
T.S. Eliot, Maxwell Anderson,
etc. and from long narrative poems such as Wordsworth's The Prelude. |
Sec. 01 |
W 3-6pm |
220.313 (H)
|
DIRECTING WORKSHOP II (1) Astin See 220.301 for full description |
Sec. 01 |
M 6-8:30pm |
| 220.314 (H)
|
TECHNICAL DIRECTION FOR THE THEATRE (3) Roche An
introduction to Technical Direction including pre-production and
production with an overview of materials, tools, rigging and safety,
together with design and its implementation. |
Sec. 01 |
MWF 9 |
| 220.316 (H)
(W) |
OPINION WRITING (3) Kane Perm. Req=d. Limit 15 Instructor will assign student topics on which they will
write essays. Essays will be discussed in class and critiqued
for style, grammar, coherence and effectiveness. |
Sec. 01 |
W 7-9pm |
| 220.321 (H)
|
NARRATIVE DESIGN (3) McGarry Perm. Req=d. Limit 20 A reading course in the novel: works by Jane Austen, Honore
de Balzac, Ivan Tugenev, Henry James, Thomas Mann, Joseph Conrad
and Elsa Morante. Students will keep a notebook of critical responses
to the novels and write a final paper. |
Sec. 01 |
M 2-4:30 |
| 220.337 (H) |
ADVANCED SCREEN WRITING SEMINAR (3) Lapadula Perm. Req=d Limit
14 An intensive workshop focusing on methodology: enhancing
original characterization, plot development, conflict, story,
pacing, dramatic foreshadowing, the element of surprise, text
and subtext, act structure and visual storytelling. Each student
is expected to present sections of his/her "screenplay-in-progress"
to the class for discussion. The screenplay Chinatown will be
used as a basic text. |
Sec. 01 |
F 2:30-4:30 |
| 220.343 (H)
(W) |
CONTEMPORARY ASIAN AMERICAN FICTION (3) DeLuna Limit 17 An
introduction to Asian American literature through study of major
novels in the field. Selected novelists include Frank Chin, Ronyoung
Kim, Maxine Hong Kingston, Jumpa Lahiri, Chang-rae Lee, Bette
Bao Lord, Bharati Mukherjec, and Amy Tan. Class discussion will
mainly center on the content and literary artistry of the novels.
Students will be given the opportunity to interpret and reflect
on these works in writing; and to try their hand at producing
stories or essays, by focusing on subjects of interest from within
a broad range of issues concerning race and ethnicity in America. |
Sec. 01 |
M 1-3 |
| 220.356 (H) |
WRITING OF FICTION (3) McDermott Perm. Req=d. Limit 14 One-semester workshop in the writing of fiction. Most of
the class time will be devoted to discussion of student work.
Students will write several short pieces at the beginning of the
semester based on exercises given by the professor, and then write
two to three short stories. Students will also have to revise
one of these short stories. |
Sec. 01 |
W 1-3 |
| 220.370 (H) |
LONG WORK CONTINUED (3) Davies
Perm. Req=d Limit 15 Students compose and edit a single long fiction. Continuation
of 220.350. |
Sec. 01 |
T 3-5 |
| 220.372 (H)
|
LOOKING BACKWARD: WRITING FOR YOUNG READERS (3) Beall Perm. Req=d Limit 14 Prereq: 220.191 or 192 This course in imaginative writing for children will use
classic texts to suggest challenges posed by writing for younger
audiences. We will consider technical, structural, and thematic
conventions as well as when and how to joyfully disregard them.
Assignments in writing poetry, fiction, and creative non-fiction
will be discussed in a workshop setting to encourage development
of individual narrative voice.
Course
canceled 01/18/05 |
Sec. 01
|
T 1-3
|
| 220.378 (H)
|
POETIC FORMS II (3) Williamson Perm. Req’d. Limit 14 The course builds on the information
and techniques encountered in Poetic Forms I, and uses them in reading and imitating
a range of contemporary poets. |
Sec. 01 |
W 1-3 |
| 220.384 (H)
(W) |
I, ME, MINE: AMERICAN AUTOBIOGRAPHY (3) Biddle Prereq:
220.145 Limit 15 A study of the genre's evolution from Benjamin Franklin to Malcolm
X. |
Sec. 01 |
W 2-4 |
| 220.388 (H)
(W) |
SCIENCE AND SOCIETY (3) Biddle Limit 15 A study of science and technology as value-laden or value-free
with focus on commercial and political influence, government oversight,
and press coverage. |
Sec. 01 |
W 12-2 |
| 220.390 (H) |
MODERNIST POETRY (3) Basford Perm. Req’d. Limit 25 The works of Stevens, Crane, Williams,
Pound, Eliot, Stein, Moore, Oppen. The philosophical bases; the
entwined courses of art, music, and criticism; the influence of
French, Provencal, Chinese and other poetry. A portrait of an era's flashpoints: xpatriation Pound's anti-semitism
and fascist leanings, boom and bust, technology and progress,
wartime, Spengler's Decline of the West, Franier's The Golden
Bough, the Harlem Renaissance. |
Sec. 01 |
T 3-5 |
| 220.393
(H)
(W) |
COMEDY WRITING: COMEDY WRITING IN FICTION AND DRAMA
(STAGE, TELEVISION AND FILM) (3) Bucknell Perm
Req'd. Weekly creative exercises with emphasis on mechanics.
Writers considered will include Oscar Wilde, Kingsley Amis, Bill
Cosby, Woody Allen.
Cross-listed with Film and Media Studies |
Sec. 01
Scr. |
M 1-3
Th 7:30-10pm 9pm |
| 220.502 |
INDEPENDENT STUDY |
|
|
| 220.510 |
PRACTICING JOURNALISM (INTERNSHIP) Dixon Perm. Req=d.
Satisfactory/ Unsatisfactory only |
Sec. 01 |
TBA |
| 220.514 |
INTERNSHIP: TEACHING WRITING Dixon |
|
|
| 220.520 |
INDEPENDENT STUDY: SPECIAL PROJECTS IN THEATRE (3) Astin Perm. Req=d. Special
projects created for and tailored to the individual theatre student.
Enrollment limited. |
Sec. 01 |
W 2-5 |
| 220.614 |
GRADUATE SCIENCE WORKSHOP Finkbeiner Limit 12 Intensive
seminar, at a professional level, in the writing of factual prose
about scientific matters, whether for the general reader or for
professional scientists as audience. Weekly writing, editing,
and reading assignments. |
Sec. 01 |
F 3-6pm |
| 220.619 |
GRADUATE POETIC FORMS I Williamson A study of classifications
of poetry and their practical applications. |
Sec. 01 |
Th 12-3 |
| 220.624 |
FICTION WORKSHOP Dixon |
Sec. 01 |
T 3-6pm |
| 220.626 |
POETRY WORKSHOP Irwin |
Sec. 01 |
M 3-6pm |
| 220.637 |
WORKSHOP IN FORMATIVE GENRES Davies Open to undergraduates with permission. An
examination of the formative genres in prose fiction and their
hybridized descendants in Defoe, Flaubert, Stevenson, Camus, Barnes,
Dixon and others. Written work will focus on conscious borrowing
from the less known genres. |
Sec. 01 |
Th 3-6pm |
| 220.800 |
INDEPENDENT STUDY |
|
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