Courses & Requirements

Requirements for the English Literature-Creative Writing Major

The English literature-creative writing major requires a minimum of 10 and a maximum of 14 courses. (ENG-110 does not count toward the major.)

Program of study must include 280, 481, at least two 200-level literature courses, and at least two 300-level courses.  Two literature courses (either 200-level or 300-level) must focus primarily on materials before 1800 (denoted pre-1800), and two literature courses (either 200-level or 300-level) must focus on materials after 1800 (denoted post-1800).

The creative-writing component of the major requires a minimum of four creative-writing courses, including at least two at the 300 level and courses in at least two genres. Students who major in English Literature-Creative Writing may not minor in English.

English Composition

ENG-110: The Craft of Writing (4.00)

With literature as a context, this course engages students in critical inquiry through reading, discussion, oral presentations, and writing, emphasizing an in-depth exploration of the writing process from generating ideas to polishing the final draft. Students will learn to analyze texts; develop a significant and focused controlling idea; construct well-organized paragraphs to advance the argument or narrative; use sources effectively; and write and speak with clarity, creativity, and eloquence. They will write and revise frequently and will receive regular commentary on their writing.

ENG-210: Advanced Composition (4.00)

Expository writing for students who wish to develop and refine their use of language and their understanding of the writing process. Emphasis on forms of academic discourse, revision and research writing. Students will write several different kinds of academic essays using topics of their own devising. The mechanics of effective revision will be the focus of the course.

Course requisites: 110

English Literature

Prerequisites: For 200-level literature courses, the prerequisite is ENG-110 or equivalent, including exemption.  For 300-level literature courses, the prerequisite is any 200-level English course (literature or creative writing) or permission of chair.

ENG-211: Early British Literature (4.00)

The first thousand years of literature in Britain. The course covers Old English heroic tradition, chivalric romance, medieval satire and renaissance lyric and drama, and the early modern epic. Readings include such authors as the Beowulf and Gawain poets, Marie de France, Geoffrey Chaucer, Thomas Wyatt, Edmund Spencer, Christopher Marlowe, Sir Philip Sidney, Lady Mary Wroth, William Shakespeare, John Donne, and John Milton.

Course requisites: 110

ENG-212: British Literature Since 1700 (4.00)

A survey of multiple forms of British literature written after the Renaissance. Fiction, drama, poetry, and essays by influential literary figures from the 18th, 19th, and 20th century. Counts toward pre-1800 or post-1800 requirement.

Course requisites: 110

ENG-213: American Writing 1600-1900 (4.00)

TRUE AMERICANS: AMERICAN WRITING 1600-1900--In a 1781 essay De Crevecoeur asked: "What is an American?" Throughout the semester, we will pursue answers to this question. This course is a chronological survey of American literature from its beginnings to the turn of the twentieth century with an emphasis on the formation of a national identity and literary tradition. Canonical and non-canonical works of prose, poetry and fiction will be read in their cultural, social and historical contexts as well as through multiple critical approaches and literary theories. Special attention will be paid to issues of race, ethnicity and gender.

Course requisites: 110.

ENG-214: Survey of Amer Literature 1900-PRESENT (4.00)

Surveying literary movements and their cultural contexts in the United States since 1900, students read across genres to learn about American experiences as they are represented in literary and artistic movements like Realism, Naturalism, Modernism, and Postmodernism. We will examine the contextual and historical moments in which these movements parallel developments in industrialization and technology, immigration policies, civil and women's rights, military conflicts, theories of multiculturalism, and the rise of digital culture in order to interrogate our national literary tradition.

Course requisites: ENG-110;

ENG-215: Literature of Ireland (4.00)

As a site of constant invasion and as "England's first colony and her last," Ireland has engaged in the struggle for national and cultural identity in its literature from the earliest texts (myths, monastic and bardic poetry, ballads) to the satirical works of Jonathan Swift, the Celtic Revival led by Yeats and Gregory, the Gaelic language movement, the postcolonial subjects and arguments of Irish modernism, representations of The Troubles, and the cross-border, cross-boundary perspectives of contemporary literature. We will explore these and related themes in works by Swift, Edgeworth, Synge, Yeats, Gregory, O'Crohan, O'Casey, Kavanagh, Macneice, Deane, Friel, Heaney, Boland, Carr, and others.

Course requisites: Prereq ENG-110

ENG-216: Topics in Black Writing (4.00)

TOPICS IN BLACK WRITING: Exploration of the varieties of American and international black writing across literary periods. Cross-listed with AS/WS-216.

Description for topic "BLACK WOMEN WRITERS"--Some of the most significant achievements in African-American literature during the past thirty-five years have been made by black women writers, culminating in Toni Morrison's receiving the 1993 Nobel Prize for Literature. This course purports to connect these recent and contemporary works to the body of black women's literature that precedes it. The scope of this survey will range from literary responses to the experience of slavery to the fictional experiments of the post-civil rights generation. The writers to be scrutinized include Wilson, Butler, Hopkins, Walker, Larsen, Jones, and Youngblood. Their works will be contextualized by way of the intersection of their historical, social, cultural and creative moments.

Description for topic "WOMEN WRITERS OF THE AFRICAN DIASPORA"--This course will connect recent works from the rich body of literature produced by black women since 1970 to earlier writing by their predecessors. The scope of this survey will range from literary responses to the experience of slavery to contemporary explorations of the black female presence on the global stage. The writers to be scrutinized will include such writers as Wilson, Butler, Hopkins, Walker, Larsen, Jones, Shockley, Levy and Lee. Their works will be interpreted within their historical, social, cultural and aesthetic contexts. Counts toward post-1800 requirement for English majors.

Course requisites: ENG-110

ENG-217: Topics in Literature and Empire (4.00)

TOPICS IN LITERATURE AND EMPIRE: Exploration of themes of colonization and imperialism across periods and genres (for example, The Adventure Novel, Narratives of the Empire, and Orientalist Texts and Contexts) focusing on cultural and social anxieties generated by the imperial project, the dynamics of domination and exploitation, the nature of constructed identities, and the dialectic of gender roles and relationships. Cross-listed with WS-317.

Description for "NARRATIVES OF EMPIRE: EXPLORERS, ADVENTURERS, CHARLATANS, COLONIZERS"--Thieves and adventurers, pirates of the high seas and unscrupulous deceivers, wise old men, resourceful teenagers, horse-traders, spies; women, clever, witty, perspicacious; natives, sharp, skillful, and accomplished--a thrilling journey through the British Empire in the process of its formation, from the South Seas and Polynesia to Afghanistan and central India, from North Africa to the Belgian Congo, and the Sudan to southern Africa. Will explore dynamics of domination and exploitation, nature of constructed identities, the dialectic of gender roles and relationships. Texts may include works by Henty, Marrayat, Stevenson, Haggard, Schreiner, Kipling, Conrad, and Forster, among others, as well as films and documentaries.

Course requisites: 110

ENG-218: Topics in Ethnic American Literatures (4.00)

TOPICS IN ETHNIC AMERICAN LITERATURES. The study of works by members of ethnically-defined groups (for example, Asian-American Literature or Native-American Literature).

Description for topic "COMPARATIVE ETHNIC AMERICAN LITERATURE"--Whether as a "melting pot," a "salad bowl," or a "mosaic," we know that America is composed of multicultural, multiethnic, and multi linguistic traditions. This course engages a comparative understanding of racialized communities in American literature, including literary productions by authors of African American, American Indian, Chicano/a, Asian American, and Hispanic American traditions. Through comparative analyses, we will regard how textual productions by Americans of different backgrounds understand and negotiate their participation in the development of American cultures. Counts towards post-1800 requirement.

Course requisites: ENG-110

ENG-219: Topics in Literary History (4.00)

TOPICS IN LITERARY HISTORY--Exploration of a literary issue, theme or form across literary periods (for example, Necessary Mythologies or The Gothic). Counts as pre- or post-1800.

Description for "LITERATURE AND POLITICAL VIOLENCE"--American writers have been considering the question of when it is right and just to employ violence for political purposes since, at least, Thomas Paine's Common Sense. In this course, we will consider this question and how Americans have written about political violence and protest over the course of the country's history. We will situate our texts by interrogating events and historical moments that will allow us to contemplate how leaders have used violence for political means, and we will reflect on how these leaders, and the historical events they have precipitated, are depicted in American literature, to better understand how writers shape our understanding of what political violence is. Our explorations of the course theme will include readings by authors such as Thomas Paine, Catharine Maria Sedgwick, Nathaniel Hawthorne, Frederick Douglass, Margret Fuller, Tim O'Brien, James Baldwin, Maxine Hong Kingston, Gloria Anzalda, John Lewis, and others.

Description for "GOTHIC LITERATURE"--In tracing the origin and progress of this genre we shall study works by several celebrated writers of gothic fiction, among them Horace Walpole, William Beckford, Matthew Lewis, Mary Shelley, Ann Radcliffe, Joseph Sheriden Le Fanu, Bram Stoker, and Shirley Jackson, and supplement our literary engagement with a look at some outstanding examples of the gothic in American cinema. To put it all in perspective we will read Fred Botting's informative little book, Gothic, side by side with the novels, romances, and movies that are included in this course.

Course requisites: ENG-110 or equivalent

ENG-220: Topics in Women and Literature (4.00)

TOPICS IN WOMEN AND LITERATURE--Women as authors and subjects in literature, wherein gender is a central factor of analysis (for example, Early Women Writers or Southern Women Writers). Counts toward pre-1800 or post-1800 requirement depending on topic.

Description for "SOUTHERN WOMEN WRITERS"--The American South has arguably produced a disproportionate amount of the country's most well-regarded authors. In this course, students will examine writing from women living in the southern United States, considering what might make this region, its writers, and its writing, distinctive. Reading texts from a variety of authors, students will think about what aspects might work together to construct the Southern woman's voice--if it exists at all. Texts may include works by Alice Walker, Eudora Welty, Flannery O'Connor, Monique Truong, Carson McCullers, Natasha Trethewey, Elizabeth Madox Roberts, and Jesmyn Ward. Cross-listed with WS-221.

Description for "EARLY WOMEN WRITERS"--What did it mean for a woman to find her voice at a time when the feminine ideal was to be chaste, silent, and obedient? We will study texts by a servant and a queen, autobiography and fantasy, love poems and tracts, from the Middle Ages, Renaissance, and Restoration. Cross-listed with WS-221.

Description for "RADICAL KOREAN WOMEN POETS"--This course will investigate radically feminist Korean poetry spanning from Choson Era Korea (16th century) to the present. Students will work to understand major texts written by Korean women writers from both a creative and scholarly perspective. Poets we will study include Hwang Chini and her use of the sijo to express feminine desire, poetry written for and about Korean comfort women. Yi Yonju, a persona poet who adopted the voice of sex workers living on or near American Military bases between the 60s-80s, and the iconoclastic work of Kim Hyesoon and Kim Yideum, two women who are changing the course of Korean poetry in translation as well as apply their ideas to other contexts (i.e. border studies, human rights, women, gender, and sexuality, language and power. Prerequisite ENG-110.

Course requisites: ENG-110

ENG-221: Developments in the Novel (4.00)

Exploration of topics in the history of the novel across literary periods (for example, The Protest Novel or The Origins of the Novel).

Course requisites: 110

ENG-222: Developments in Poetry (4.00)

Exploration of topics in the history of poetry across literary periods (for example, Lyric Voices or The History of the Ballad).

Course requisites: 110

ENG-223: Developments in Drama (4.00)

Exploration of topics in the history of drama across literary periods (for example, Woman Dramatists or Revenge Plays).

Course requisites: 110

ENG-224: Queer Literature (4.00)

Definitions of identity based on sexuality are relatively recent; in this course, we will survey the historical and social construction of gay, lesbian, bisexual, transgender, and queer identities in literature. Situating texts into frames of literary, social, and cultural representations of queerness, we will historicize the development of non-heteronormative sexual and gender identities in an effort to illustrate that our contemporary ideas about sexuality and LGBTQ identities are informed by various academic disciplines, cultural influences, and political ideologies. Cross-listed with WS-218.

Course requisites: ENG-110

ENG-228: The Engl Language: History & Controversy (4.00)

For better or worse, English has become the language of the globe, spoken by peoples around the world, millions of whom have a national and cultural identity starkly different from that of the traditional Anglophone areas of Great Britain and the U.S. This course begins with the global present of the diversity of world Englishes, and then scrutinizes the origins of the language, from the misty prehistories of the Indo-Europeans and Germanic tribes, to the earliest records of the language left by the Germanic colonizers of the British island, through the gradual growth of the language to its present status today. Throughout, the course emphasizes the many varieties of the language both across time and at any given moment, from the first recorded varieties to the present, and the relation of these varieties to power and authority; individual, social, and national identity; and discrimination and social inequity. It interrogates myths about English, even ones that haunt its own textbooks. And it considers how events in world history-like the bloody invasions of the British island, like British and American imperialism-have had profound consequences on the very language that we will be speaking in the classroom.

Course requisites: ENG-110 or equivalent, including exemption

ENG-230: Topics in Film Study (4.00)

TOPICS IN FILM STUDY--Approaches to film from the viewpoints of history, genre and technique. (Introduction to Film will alternate with Film History). Cross-listed with WS-229 when topic applies.

Description for "WOMEN AND FILM"--This course will focus on the history of film with primary focuses on the achievements of women film directors and on feminist film criticism. We will examine the contributions of women film directors to such film historical moments as the Silent Cinema, the Hollywood Studio System, the international art film, and contemporary independent film. Theoretical considerations will include ideology and genre, gender and spectatorship, and the cinematic gaze. Films for analysis will include the work of Lois Weber, Dorothy Arzner, Agnes Varda, Patricia Rozema, Jane Campion, Cheryl Dunye, and Catherine Breillat. Students will acquire a familiarity with current issues in film studies in addition to an overview of the development of narrative film. Students will utilize an array of critical skills to analyze film as a social/cultural text as well as an art form. Course requirements will include regular screenings, weekly essays, online exercises, weekly quizzes, and a synthesizing final exercise.

Description for "INTERSECTIONAL APPROACHES TO MEDIA STUDIES" --This course will provide a broad introduction to the critical framework of feminist media studies. We will examine film, television, music and new digital and online media platforms, considering how race,class, gender presentation, sexual identity, nation and ability impact women's engagements with these media forms. Possible topics for discussion include the historical trajectory of media representations of women in the US; the impact of post-feminism on contemporary media forms; race, class and the politics of representing women; women as producers and consumers of media forms; and, women and the rise of new digital and online media forms.

Description for "FILM AS ART: INTRODUCTION TO FILM STUDIES" --This course will focus on the basics of film as an art. Fundamental elements of film, such as editing, sound, cinematography, and mise-en-scene will be explored in relation to the particular storytelling power of films. Emphasis will also be placed on the nature of narrative form in film. Attention will also be paid to the ideological dimension of film and to selected issues in film history and theory. Films for analysis will be drawn from both Hollywood and international cinemas. Special Unit on Irish Film for Global Study Tour: Ireland when scheduled. Counts toward post-1800 requirement.

Description for "WORLDS IN A FRAME: AN INTERNATIONAL HISTORY OF FILM"-- Film has been one of the most influential art forms since its inception over one hundred years ago. To study the history of film is to understand how film form and technique have been established and transformed over time. This course will focus on key moments in the development of cinema such as German impressionism, Russian Montage, Italian Neorealism, the French New Wave, and the Hollywood Renaissance. We will study as test cases the work of such major world film directors as Griffith, Eisenstein, Welles, Hitchcock, Truffaut, and Kar-wai. Counts toward post-1800 requirement.

Course requisites: ENG-110

ENG-234: Topics in Shakespeare (4.00)

TOPICS IN SHAKESPEARE--Thematic, generic or period studies (for example,The Elizabethan plays, The Tragedies, or Shakespeare and Race).

Description for "SHAKESPEARE AND THE MEDIEVAL TRADITION"--In this course, we will read several Shakespeare plays alongside medieval works of a variety of genres. Some of our medieval texts were sources for Shakespeare, while others will help us understand the medieval literary and dramatic context from which Shakespeare's plays emerged. For example, in one unit on Shakespeare's King Lear and Geoffrey of Monmouth's History of the Kings of Britain, we will explore how both Shakespeare and medieval history writers constructed narratives about Britain's ancient history and national identity. Assignments for the course will include several short papers, an exercise in making an early modern manuscript, and a presentation on a modern adaptation of one of Shakespeare's plays.

Description for "SHAKESPEARE AND THE MODERN WORLD"--Even after his death, Shakespeare continues to create. His plays are extraordinarily successful because they are so endlessly adaptable. Japanese films, African dramas, and American novels have all taken Shakespeare's plays as powerful pre-texts for their own works, which fill in blanks, offer alternative perspectives, critique, and remake. We will study a selection of Shakespeare's works and the twentieth- and twenty-first century texts that revise them, both as comments upon Shakespeare and in their own right. Counts toward pre-1800 or post-1800 requirement.

Course requisites: ENG-110

ENG-235: Human and the Divine in World Lit (4.00)

What is the essence of humanity? What is humanity's place in the cosmos, and what is the purpose of human life? From the very beginning of recorded history and in vastly differing cultures around the globe, human beings have sought answers to these questions through their understanding of their relation to a divine Other. This course examines some provocative and powerful literary meditations on the human/divine relation, meditations spread out over several millennia and originating from five different continents. It explores, among other things, the distinctive ways these meditations seek to account for basic aspects of human experience-for example, gender, sex, racial/ethnic difference, wealth inequity, hunger, yearning, aggression, violence, pain, and death-as well the points of contact among what may seem otherwise quite different works. Cross-listed with REL-299.

Course requisites: ENG-110

ENG-240: Lit & Leadership: Global Perspectives (4.00)

This course explores varying concepts of leadership by examining a selection of literary texts from across the globe. Based on fundamental skills of critical reading and critical appreciation, it also seeks to explore the role of intuitive understanding, mindfulness, and inclusivity in representations of leadership in literature. The course scrutinizes power structures and the incidence of marginalization, domination, and exploitation within and between societies, cultural groups, and nations, of which the selected literary texts offer a variety of scenarios across a wide range of geographical, social, religious, and political terrains, to contextualize and foreground the struggle of a protagonist in the quest for self-actualization. In mirroring life and its labors, its systems of exclusion and inclusion, these texts present characters and situations from which we can learn much about discovery of self in hostile and inhospitable environments and the ability to inspire and lead others in the process. The course focuses on developing cross-cultural understanding and exploring models of leadership to disrupt and overcome the regimes of marginalization and exclusion. Texts will include novels, movies, plays, biographies, fairy or folk tales, and essays, to be selected from the following works, among others, Joseph Badaracco's "Questions of Character: Illuminating the Heart of Leadership Through Literature," Plato's "The Trial and Death of Socrates," Sophocles' "Antigone," Shakespeare's "The Tempest," Shaw's "St. Joan," Gogol's "Dead Souls," Achebe's "Things Fall Apart," Ngugi's "Petals of Blood," Arthur Miller's "Death of a Salesman," Jean Cocteau's "Beauty and the Beast," V.S. Naipal's "The Mimic Men," Francis Ford Coppola's "Apocalypse Now!," Edwidge Danticat's "Breath, Eyes, Memory," and Malala Yousufzai's "I Am Malala: The Girl Who Stood Up for Education and Was Shot by the Taliban."

Course requisites: ENG-110

ENG-280: Perspectives on Literature (4.00)

The foundation course for the English major, introducing both methods of literary research and major concepts, concerns, and figures in contemporary literary theory. This course is designed to make us more intentional readers and writers. As we learn about the assumptions and approaches of selected literary critics and theorists, we will become more aware of our own assumptions and more deliberate about our approaches as critical and creative writers of literature.

Course requisites: One 200-level literature course

ENG-306: Authorial Studies (4.00)

AUTHORIAL STUDIES--Focuses on the work of one or two major figures in context (for example, Chaucer, Milton, Austen, Richardson and Fielding or Morrison).

Description for "JANE AUSTEN"--Jane Austen's novels have always been popular, respected, and beloved, but contextualizing them reveals how very astute they were in examining the social relations and social problems of her day. This course will focus on close, contextualized readings of Austen's six completed novels. We will consider how these readings illuminate the historical moments in which Austen wrote. How did she conceive of courtship, love, and proper conduct for young women? How do her novels reach beyond these topics and address economic, political, philosophical, and gender issues? How does she use the form of the novel to do all this? What is her legacy for the centuries of fiction that followed her? Cross-listed with WS-306.

Description for "BURNEY AND AUSTEN"--This course will juxtapose the work of Jane Austen with that of Frances Burney, who greatly influenced Austen and was a significant author in her own right. We will study their novels as they build on and depart from crucial social constructions of courtship, love, and proper conduct for young women especially. We will also explore how their writing reaches beyond these topics and addresses economic, political, and philosophical matters. Many of these issues will come together as we consider the perceived and real roles of women authors in the late eighteenth and early nineteenth centuries. Readings will include Burney's first two novels, three novels by Austen, and selected letters and journal entries. Counts toward pre-1800 requirement. Cross-listed with WS-306.

Course requisites: 200-Level literature course

ENG-309: Literary Journalism: Long-Form (4.00)

LITERARY JOURNALISM: LONG-FORM--The assigned reading and writing assignments in this course will focus on "long-form" narrative nonfiction, and the gaze of the students will be directed primarily outward, towards a modern landscape convulsing with social, political, and environmental chaos and conflict, and yet one on which citizens still manage to devise strategies and enact policies in promotion of human decency and environmental preservation. How are superb reporters covering the world's most pressing issues and how can we emulate that work?

Description for "PUBLIC INTEREST JOURNALISM"--This narrative nonfiction-writing course addresses two significant, related streams in journalism: Public Interest reporting, whose stories expose an unjust or harmful status quo; and Solutions Journalism, an innovative approach which highlights successful responses-even on a micro level-to the world's challenges. Students will read and analyze important stories within general categories, such as Poverty and Social Justice, Abuse of Power, and Science and the Environment, while staking out and pursuing their own semester-long feature writing project.

Description for "SOLUTIONS JOURNALISM"--This writing-intensive course explores "Solutions Journalism," a news discipline focused on exposing societal problems and highlighting successful citizen or institutional responses to them at the global, national, state, or local level. Students will develop advanced skills in field research and reporting while producing a professional-quality story suitable for digital production.

Course requisites: ENG-208, ENG-205 (if non-fiction), or ENG-206

ENG-310: Studies in Early Literature (4.00)

STUDIES IN EARLY LITERATURE--Thematic or generic studies in medieval and early modern literatures (for example, Love and Poetry in the Middle Ages or Medieval and Renaissance Drama).

Description for "IMAGINING KING ARTHUR IN LITERATURE AND FILM, FROM 1136 TO PRESENT"-- Arthurian legend was born in Britain in the Middle Ages, and in the twenty-first century it remains the most widely known literary survivor of the medieval West. This legend is not a single story but rather a broad (and often not consistent) collection of ideals, values, norms, desires, and problems that characterizes a copious number of related stories, and from which an apparently inexhaustible number of additional stories may be generated. It has always been fantasy, even when masquerading as history, and as such it has been a canvas upon which the West has unguardedly painted its loftiest hopes and deepest anxieties. Moreover, from its very beginnings it has led a dual existence as an elite (scholarly and/or high-cultural) subject matter and as a topic of popular culture designed for, and garnering, mass appeal. This course will pay some attention to the historical development of the legend, but its primary focus will be on the nature of select accounts, elite and popular, and on their complex relations with the societies that provoked them. In particular, by considering sometimes centuries-old texts alongside films, the course will think through problems in historical alterity and continuity, in the relations between history and artistic expression, and in the differences between artistic media. Through discussion of literary texts from the twelfth century through the twentieth, students will encounter the ways the legend was molded to the time in which it was told, and they will also discern the vexed thematic strands that seem to persist in each retelling. Alongside most readings, students will view a related film, and they will reflect on how these films negotiate their intertwining relationships with their informing works of literature, their own particular historical moments, their transpositions of subject matter from one artistic medium to another, and the history of cinematic adaptations of Arthurian legend. Considering each film as some sort of response to its informing literary text, students will use a comparison of the two as a means to reflect on the myriad meanings of both. Students will interrogate, for example, Arthurian notions of love, desire, sexuality gender, civilization, power, violence, justice, order, destiny, truth, nation, and spirituality, seeking to discover what these meant to their respective audiences and to what extent and in what disguises they persist in Western culture today. Counts for pre-1800 and post-1800 requirement.

Description for "QUEERING THE RENAISSANCE"-- Men desiring men, women desiring women, women presenting themselves as men, and men presenting themselves as women abound in early modern plays and poems. This course, which borrows its title from a path-breaking 1994 collection of critical essays, examines English Renaissance texts in which gender and sexual expression are not directed by male/female or hetero-/homosexual binaries. It will also consider literary criticism and modern adaptations of these texts, both for the light they shed on the primary texts and as objects of analysis in their own rights.

Description for "THE TALE IN EARLY WORLD LITERATURE"-- Across centuries and continents, collections of short narratives have caught the imaginations of writers and readers. These compendia of tales, often bound by an encompassing frame-story, have travelled through time and space to become some of the most famous works of world literature: Ovid's Metamorphoses, The Arabian Nights, Somadeva's Ocean of Story, Boccaccio's Decameron, and Perrault's collection of fairy tales. Expansive by nature, these texts have invited revision, addition, and adaptation. Both the content of the stories and the structure of the collections seem to have transcended linguistic, historical, and geographical boundaries to create a tradition of the genre, although one that is often overlooked in favor of the epic or lyric poem. We will examine texts from the first to the seventeenth centuries CE, from India, the Middle East, and Europe.

Course requisites: One 200-level English course

ENG-320: Performance Approaches to Literature for Children and Young Adults (4.00)

PERFORMANCE APPROACHES TO LITERATURE FOR CHILDREN AND YOUNG ADULTS--The study of literature written for young readers, with an emphasis on translating texts for performance. May be taught in a hybrid format. Cross-listed with THE-320.

ENG-321: Studies in Romanticism (4.00)

STUDIES IN ROMANTICISM--Thematic, generic or period studies (for example, British Romantic Writers, Transatlantic Romanticisms, Romanticism Through the Ages, or Romanticism, Orientalism and Imperialism). Description for "BRITISH ROMANTIC POETRY/PROSE"--This course focuses on one of the most remarkable periods of creativity in English literary history that signaled the decline of old feudal structures and ushered in an era of individualism, political revolution, and democratic values. Paradoxically, it also ended up generating a sense of revolutionary elitism and notions of artistic autonomy and cultural superiority that came to represent an important feature of European, and, of course, British, imperialism. Romantic writers, in turn, were heavily influenced by the Orient and freely appropriated its texts, aesthetics, and themes even as they satirized its mores and manners. In this course we shall trace the genesis of the Romantic movement in the reaffirmation of feeling and emotion over the classical (and Enlightenment) values of reason and restraint and study the relationship of the writers and their works to nature, imagination, and folklore, as also to political and cultural changes in England and to the grand design of empire building that was in full swing at this time. Course texts may include writings by, among others, William Jones, Helen Maria Williams, Charlotte Smith, Edmund Burke, Robert Burns, Anna Barbauld, William Blake, Hannah More Robert Southey, William Wordsworth, Samuel Taylor Coleridge, Thomas Moore, Byron, the Percy Bysshe Shelley, and John Keats.

Course requisites: 200-level literature course

ENG-322: Studies in 19th Century Literature (4.00)

STUDIES IN 19TH CENTURY LITERATURE--Thematic, generic or period studies (for example, Victorian Historicism, The Realist Novel or 19th-Century Poetry), including courses that combine British and American literature. Cross-listed with WS-322.

Description for "AMERICAN FRAUDS AND CHARLATANS"--Ralph Ellison writes, "America is a land of masking jokers," and he includes Ernest Hemingway, William Faulkner, Mark Twain, Ralph Waldo Emerson, and Abraham Lincoln as examples of posers and tricksters. While America certainly did not invent the phony, the counterfeit, or the con man, these figures play an important role in American literature, and the anxieties about dubious self-representation in the literature of the 20th century have strong roots in the nineteenth. This class will explore those roots and the American worry over "authenticity" (in its various forms), reading authors such as Edgar Alan Poe, Catharine Maria Sedgwick, Nathaniel Hawthorne, Ellen and William Craft, Mark Twain, and Charles Chesnutt.

Description for "THE BRONTE SISTERS"--Between them, the three Bronte sisters produced a notable corpus of poetry and seven memorable novels,at least five of which have acquired a cherished position in the English literary canon-Charlotte Bronte's Jane Eyre and Villette, Emily Bronte's Wuthering Heights, and Anne Bronte's The Tenant of Wildfell Hall, and Agnes Grey. The other two, Charlotte Bronte's The Professor and Shirley, are better known to scholars than to readers generally. In this course, we will study the contributions of the sisters to the development of the novel, particularly in the area of the bildungsroman, the novel of (self-)education, and also scrutinize the tussle between the romantic strain of storytelling and the narrative of psychological realism. Taking into account debates about gender and the woman question, as well as ideologies of race, class, gender and empire during the Victorian period, the course will explore how the texts relate to, or are in dialogue with, these debates and ideologies. Central to our study of the assigned texts is the critical examination of relationships, interactions and outcomes among dominant and marginalized cultures, subcultures and groups, such as women, minorities, racial others, and those discriminated against on the basis of class or social rank.

Course requisites: One 200-level English course

ENG-325: Studies in African American Literature (4.00)

STUDIES IN AFRICAN AMERICAN LITERATURE--Thematic, generic or period studies (for example, The African-American Novel or Major African-American Writers). Cross-listed with AS-325.

Description for topic "AFRICAN AMERICAN FICTION AND FILM"--The African American novel has proven to be a vibrant and resilient form, giving expression to the experiences and concerns of black people for more than 150 years. Through the representational potentialities provided by fiction, black writers have given witness and testimony to a people's quest for freedom, identity, justice, and equality. A primary category of analysis will be gender, as the reading list will consist of paired texts by female and male writers. A special film component will be available for film studies credit.

Description for topic "BLACK WRITERS ABROAD: AFRICAN AMERICAN LITERATURE IN GLOBAL CONTEXT"--This course will focus on the literature produced by African American writers in response to their experiences of expatriation, exile, and travel in Europe and Africa. African American geographical movement is usually associated with the Middle Passage of the slave trade and the Great Migration from the Southern states to the North in the twentieth century. Less attention has been paid to an African American diasporic mobility whereby black men and women ranged far and wide across the Atlantic in search of physical safety, equal treatment, artistic inspiration, political asylum, economic opportunity, spiritual expression, and personal liberation. Some specific issues for scrutiny include: the shifting meaning of an American identity for blacks abroad; the ramifications of encounters with diasporic Africans; the effect of international experience and writing upon the shaping of the African American literary voice and tradition; the critique of America and its institutions and attitudes proffered from a geographically removed vantage point; the heightened ability of expatriate blacks to understand the workings of American racism; and the impact of black women living and traveling abroad.

Course requisites: One 200-level English course

ENG-330: Studies in Literary Genre (4.00)

STUDIES IN LITERARY GENRE--Studies focusing on specific traditional, marginal or innovative literary genres (for example, Modern Drama, Autobiography or The Graphic Novel).

Description for "LIFE WRITING"--From genres like captivity narratives, slave narratives, and commonplace books, to contemporary iterations in memoir, blogs, and reality television, literary life writing matters. Life narratives demand that readers attend to histories, lives, languages, and experiences that are often unfamiliar or different from their own. Reading transnational self-representational texts raises questions about ethics, veracity, memory, and subjectivity, and we will explore these issues and others as we examine how life writers understand and represent selfhood, addressing inherent implications of reading stories of others' lives.

Description for "GRAPHIC NOVELS"--This course looks at the recent explosion in comics. Topics include history of comics in newspapers and counterculture magazines; the rise of graphic memoir; comics theory. Scott McCloud, Art Spiegelman, Alison Bechtel, Mat Johnson, Alan Moore, Marjane Satrapi, and others.

Course requisites: 200-level literature course

ENG-340: Studies in Gender and Sexuality (4.00)

STUDIES IN GENDER AND SEXUALITY--Exploration of constructions and representations of gender and sexual identities in literature (for example, Lesbian Novel, American Genders and Sexualities). Cross-listed with WS-345.

Description for "GENDER, SEXUALITY AND THE CANTERBURY TALES" --In writing the Wife of Bath's Tale, Geoffrey Chaucer took on the persona of a boisterous five-time widow in order to complain about the myriad ways that men abuse women, and then to tell a story in which Queen Guinevere orders that a rapist knight must go on a quest to discover what every woman really wants. Many centuries later, literary scholars are still arguing about exactly what Chaucer was up to in this cross-dressing, oddly self-interrogating literary performance, but all agree that it raises complex issues regarding sex and gender that remain powerfully resonant today. In this course we will read several works by Chaucer, identifying issues of sex and gender as they emerge in their literary and historical contexts, and considering them also through the lens of contemporary feminist, gender, and queer theory. We will seek to discover both what light that theory sheds on Chaucer's writing and how Chaucer's writing anticipates, complicates, and even evades that theory.

Description for "VICTORIAN SEXUALITIES" --Throughout most of the 20th century, historians and cultural critics labeled the Victorian age the age of repression. But the Victorians had a culture-wide obsession with sex. The marital theme in Victorian fiction, the sensuality of Aestheticist poetry, the invention of the new field of "sexology" and new psychic identities based on sexual difference, debates about gender roles and their relationship to biological "instincts"; all of these issues remind us that the Victorians were in fact preoccupied with sexuality.Indeed, the central argument of this course will be that the very concept of "sexuality" is a 19th-century invention, and that the Victorians constructed multiple, heterogeneous forms of sexual identity which continue to shape our conceptions to this day.

Description for "LIKE A VIRGIN: GENDER AND SEXUALITY IN MEDIEVAL AND EARLY MODERN EUROPEAN LITERATURE" --Reading medieval and early modern European literature alongside recent gender studies scholarship and feminist theory, we will examine how these literary works construct femininity, masculinity, and sometimes a separate, third gender for the chaste monk or nun. From virgin martyrs to cross-dressing saints to castrated theologians, medieval religious literature often shaped the individual's relationship to God through gendered imagery. In a typical case, Bernard of Clairvaux characterized the soul as feminine in a spousal relationship to Christ the bridegroom. Gender, however, was not conceived in binary terms in medieval literature, especially religious texts. For example, Julian of Norwich represented Jesus as a mother in her Revelations. Our early modern readings include misogynistic plays, treatises on idealized female communities, and courty poetry expressing same-sex desire. In the final weeks of the course, we will discuss gender alongside sexuality, including virginity, courtly love relationships, and rape and consent. We will explore how pre-modern texts shape and represent what we would call "sexual orientation" today.

Course requisites: 200-level literature course

ENG-345: Studies in American Literature (4.00)

STUDIES IN AMERICAN LITERATURE--Thematic, generic or period studies (for example, The American Renaissance or American Realism and Naturalism). Cross-listed with WS-344.

Description for "AMERICAN MODERNISM"--Between World War I and World War II the American Modernists changed the face of literature, working from urban and rural spaces, in and outside the borders of the U.S. This course will study the texts of the American Modernists, exploring the different ways in which this group contested conventions and created a new space for American artists by continuously challenging perceptions of art and trying to remake old traditions in modern ways. Readings will include both canonical and neglected works from authors such as William Faulkner, Gertrude Stein, Langston Hughes, T.S. Eliot, and Jessie Redmon Fauset. In addition to literary examples of Modernism, students will examine different media from the period, including film and music. Prerequisite(s): any 200 level literature course.

Course requisites: One 200-level English course

ENG-350: Studies in Modernism (4.00)

STUDIES IN MODERNISM--Thematic or generic studies (for example, Modern Poetry, or Virginia Woolf and Modernism). Cross-listed with WS-350.

Description for "ENG-350 WOMEN'S VOICES IN MODERN IRISH LITERATURE"--While women writers have always contributed to Irish literature, their voices and works have achieved new distinction and resonance in the modern era, whether the subject be growing up and living in a colony or a divided country, domestic life, class conflict, romance, politics, the position of women, social criticism, or art. This course examines the poetry, novels, plays, and memoirs of modern Irish women writers as they address the evolving problem of what it means today, and what it has meant since the beginning of the independence struggle in the early twentieth century, to be Irish and female. We will explore the efforts of these writers to identify and pursue new topics for present and future artistic exploration, studying works by writers such as Sydney Owenson, Augusta Gregory, Elizabeth Bowen, Kathleen Tynan, Kate O'Brien, Mary Lavin, Eavan Boland, Clare Boylan, Deirdre Madden, Jennifer Johnston, Marie Jones, Edna O'Brien, Nuala Ní Dhomhnaill, Marina Carr, Anne Enright, Vona Groark, and others.

Course requisites: One 200-level English course

ENG-352: Studies in Postcolonial Literature (4.00)

STUDIES IN POSTCOLONIAL LITERATURE--Study of literature written in nations that were formerly European colonies (for example, the literature of South Asia, South-East Asia, the Middle East, Africa, the Caribbean, Australia, New Zealand and Canada). Cross-listed with AS-352.

Description for "AFRICAN AMERICAN LITERATURE AND FILM"--This course seeks to introduce students to a selection of African literature and film from a postcolonial perspective. It examines systemic structures of domination and exploitation, colonial and local, and investigates issues of race, class, tribal affiliation, identity, and gender in order to understand both the nature of the societies depicted and the motivating impulses behind the texts we study. The interdisciplinary approach will allow us to identify the residual effects of colonization as well as the intrinsic dynamics of a selected variety of postcolonial societies in Africa within a historical context. At the same time, we will look at stylistic, formal, and technical elements to analyze and appraise the aesthetic and imaginative qualities of the assigned material. Texts originally produced in English as well as those translated from local languages may be used.

Description for "MODERN SOUTH ASIAN AND MIDDLE-EASTERN LITERATURE"--A study of literature from South Asia and the Middle East from a postcolonial historical perspective. The central focus of this course is the critical examination of relationships, interactions and outcomes among and within dominant colonial and marginalized postcolonial cultures, subcultures and groups. After examining ideas about self and the other and the social and political scale of power fostered by colonial authorities, we shall turn our attention to the postcolony with the following questions: What are the regimes of differentiation and discrimination within postcolonial societies? What aspects of these hierarchies of difference are derived from colonial rule and which aspects are endemic to the postcolonial society? How do the related, though outwardly independent, historical developments of the times, the birth of modernism, the Russian revolution, and the dismantling of British colonial rule affect South Asian and Middle-Eastern societies as reflected in their literary and artistic productions? What does the term "postcolonial" signify? How do postcolonial literature and approaches to literary works seek to identify, challenge, and subvert the continuing hierarchies of domination and subservience derived from the colonial period as well as the internal orders of privileging and difference in the postcolony? What are the advantages and disadvantages of deploying this critical approach? We shall study texts originally produced in English and may also use English translations of works, written and oral, from regional languages, in order to understand the aesthetics, cultural perspectives, and ideological positions that animate these literary and artistic productions.

Description for "LITERATURE OF SOUTH ASIA, MIDDLE EAST, AND AFRICA"--Using a historical introduction to provide a background for the debates involving the postcolonial condition and the struggle for personal, cultural, and/or national autonomy in formerly colonized areas or states, we shall proceed to an overview of the field of postcolonial literary theory to establish the context for our study before looking at postcolonial literature and films from former British colonies (and areas formerly under British control) in South-Asia, the Middle East, and Africa. Occasionally, translations from works in the indigenous languages may be introduced to highlight contrasts and correspondences with work originally composed in English, or give a more inclusive view of the range and nature of responses to the colonial experience in these areas. Texts to be selected from works by, among others, Arundhati Roy, Salman Rushdie, Anita Desai, Sara Suleri, Bapsi Sidhwa, Mohsin Hamid, Faiz Ahmad Faiz, Ghassan Kanafani, Furugh Farrukhzad, Mahmoud Darwish, Adonis, Sami-ul-Qasim, Chinua Achebe, Wole Soyinka, Ngugiwa Thiongo, Tayyib Salih, Ama Ata Aidoo, and Bessie Head.

ENG-360: Studies in Film and Media (4.00)

STUDIES IN FILM AND MEDIA--Thematic, aesthetic, generic, historical, cultural or theoretical explorations of issues in film and media studies. Counts toward post-1800 requirement. Cross-listed with WS-360.

Description for "FILM AND FASHION"--This course will explore the relationship between film and fashion: how the film medium and film culture further the agendas of the fashion industry and how fashion as a category of meaning shapes film narratives.

Description for "FICTION INTO FILM"--This course will explore the relationship between narrative in fiction and film: both the formal differences between literature and film and how both forms of narrative simultaneously shape and reflect their cultures.

Description for "All About Women on the Verge: Women and the Films of P. Almodóvar"--Pedro Almodóvar, Spain's best known film maker, has stood the test of time and come to personify the emergence of a revitalized Spanish culture in the wake of thirty-six years of military dictatorship. In fact, many attribute the international prominence of contemporary Spanish cinema to the popularity of his films beyond the borders of his native country. But while few question the significance of his artistic vision, his works have often aroused strong criticism, in spite of his own claims that he "loves women," for the sometimes-questionable treatment of female characters. In addition to viewing a selection of films by Almodóvar, students will read and discuss the different kinds of texts that have been written about his films (i.e., scholarly journal articles, newspaper reviews and popular opinion) as well as consider more general notions regarding the interpretation of film and the portrayal of women in the arts.

Course requisites: One 200-level English course

ENG-366: Queer & Trans Film Theory (4.00)

This course provides an introduction to LGBTQ+ film theory through contemporary cinema. Students will draw on foundational film concepts (such as shot, scene, editing, sound, and mise-en-scene) to analyze queer and trans film cinema. Attentive to the intersections of gender and sexuality with race, class, disability, regionalism, nationalism, and other axes of oppression, the course content may include topics in HIV/AIDS activism through film, queer-of-color critique, post-colonial and Third Cinema, and disability film studies, among others. Cross-listed with WS-366.

Course requisites: WS-110 (Intro Queer Studies) or ENG-230 (Intro Film Studies)

ENG-370: Studies in Ethnic American Literature (4.00)

STUDIES IN ETHNIC AMERICAN LITERATURE--A critical analysis of a specific topic, genre, or period in Latino literature and other English-language media produced in the United States. Counts toward post-1800 requirement. (Cross-listed with WS-370 or SPA-370 when topic applies.)

Description for "ETHNICITY & RACE IN ETHNIC AMERICAN LITERATURE"--This course asks students to examine debates over "authenticity" and representation, the influences of global conflict and border spaces, the resonances of cultural myths and memory, and the role of popular culture and nostalgia in ethnic American literature. We will discuss the many and intersectional ways in which groups are ethnicized and racialized, and how they engage power, geography, and cultural production.

Description for "RADICALS, RABBIS, AND EVERYTHING IN BETWEEN - AMERICAN JEWISH LITERATURE FROM THE 1880S TO THE 1930S"--This course analyzes writers and literary movements emerging from the mass immigration period of American Jewish history (1880-1930), focusing on particular themes in their writing - adaptation, assimilation, poverty, radical politics, bilingualism, etc. It also addresses how this era of American Jewish Literature shaped later generations of Jewish and non-Jewish writers. (Pre-requisite: any 200-level English course.)

Course requisites: ENG-110

Creative Writing

ENG-125: Digital Storytelling (4.00)

INTRODUCTION TO DIGITAL STORYTELLING--the development of media-rich narratives created with selected productivity tools, such as film and audio editing software. Course projects focus on the educational uses of digital stories. Course may be taught in a hybrid or online format. Cross-listed with EDU-125.

ENG-201: Introduction to Fiction Writing (4.00)

Principles and forms of narrative writing. Illustrative readings and frequent writing.

ENG-202: Introduction to Poetry Writing (4.00)

The craft of poetry, through regular written assignments and readings in a variety of contemporary poets and poetic movements and traditions.

ENG-203: Dramatic Writing I (4.00)

Principles of the craft of the playwright with an emphasis on dramatic structure and the resources of the theatre through the reading of playscripts and the writing of a one-act play. Cross-listed with THE-203.

ENG-204: Topics/Creative Writing/1-3cr. (1.00)

TOPICS IN CREATIVE WRITING (VARIABLE CREDIT)--Our innovative Writer-in-Residence program is a mark of Agnes Scott's distinctive creative writing program that allows students to write with esteemed visiting artists and builds on one of the colleges finest and most noted traditions of connecting our students with established literary and cultural figures, as was the case with Robert Frost beginning in the 1930s.

ENG-205: Topics-Creative Writing (4cr.) (4.00)

TOPICS IN CREATIVE WRITING, including courses taught by visiting writers. Cross-listed with THE-205 when the topic pertains to dramatic writing. Four (4) credit hours. Description for "INTRODUCTION TO SCRIPTWRITING"--In this course, students will gain an understanding of both basic and intermediate concepts of writing a screen story including reading various scripts, screenplay format, screen story structure, and internal/external character development. In addition, they will learn how to create a beat outline, how to craft screen story scenes, and how to develop different types of scenes (persuasion, character introduction, advertising, exposition-through-conflict). Finally, they they will produce screenwriting of their own and develop an understanding of how to provide constructive feedback to classmates' writing. Description for "THE ELEGY AS PROTEST POEM"--How do poets and other artists begin to articulate loss, outrage and grief on a grand scale, distilling universal connections that transcend customs and belief systems? This class is an overview of poetry that responds to public tragedy: we will discuss and practice approaches, ethical considerations and craft choices poets make when responding to various kinds of events (acts of war, gun violence, police brutality, natural disaster, environmental issues, etc.) through art. We will examine poems that employ strategies across aesthetics and poetic impulses, discussing their merits and flaws, as well as the impact poets may have on public consciousness and conscience. These explorations will also entail writing prompts and sharing work in progress as we grapple with some of the most pressing issues of our time. Some of the poets we'll study are Lucille Clifton, Ross Gay, Jericho Brown, Alicia Ostriker (short essay), Matthew Olzmann, Martin Espada, Bob Hicok, Patricia Smith, Randall Mann, Jack Gilbert, Wislawa Szymborska, Tamiko Beyer and others. Description for "LITERARY JOURNALISM: SHORT FORM"--To suspend your preconceptions and biases, to investigate, to interview, to analyze, to grasp the issues, and finally to report on your findings with accuracy and eloquence are indispensable 21st-century skills. Whether you hope to become a professional journalist or widely-read blogger, or you want to be able to capture in prose the people, landscapes, and events you will encounter in the future, you'll need to know how to write nonfiction stories. In this once/week seminar, you will dabble in word-play, you will do research and field-work as part of an assigned team, and you will workshop your writing drafts with supportive peer-editors. Our aim will be the composition, by each team, of a publication-ready article 1400 to 1800 words in length (the average word-count of a New York Times article, requiring about seven minutes to read) and the submission of each piece to at least one media outlet. The underlying goal is to learn how to bring to life, on the page, subjects you hold dear. Description for "GEEKY RAPTURES: SCIENCE AND POETRY AS CO-CONSPIRATORS"--By reading and discussing works by established voices in both science and poetry, we will cultivate our "geeky rapture" and develop writing practices that draw from both the arts and sciences - an osmosis offering endless sources of artistic possibility.

ENG-206: Introduction to Creative Writing (4.00)

A multigenre course that will introduce students to writing in the forms and modes of creative nonfiction (personal essay, new journalism, memoir, travel writing and the lyric essay), fiction, including microfiction and short story, and poetry (prose, narrative, and lyric), and dramatic writing.

ENG-207: Writer's Festival Creative Writing Sem. (1.00)

This intensive course in creative writing will meet in the one to two weeks leading up to the annual Writers' Festival and be taught by one of the guest writers for the festival. The focus of the course will vary with the writer designing it. Possibilities include Writing as Discovery, Writing and History, and Multicultural Women's Voice. Prerequisite is one creative writing course.

Course requisites: Prereq: 1 creative writing course taken previously.

ENG-208: Introduction to Nonfiction Writing (4.00)

An introduction to the craft of nonfiction writing focusing on the rhetorical skills underlying print journalism (news, editorials, interviews, and features) and other forms, such as the essay.

ENG-209: Literary Journalism: Short-Form (4.00)

ENG-301: Fiction Workshop (4.00)

Intermediate fiction writing. Readings in theory and practice; the writing and rewriting of a group of stories. Individual conferences and group sessions. Students may retake a 2nd time with permission of the instructor.

Course requisites: 201, 205 (if in fiction) or 206.

ENG-302: Poetry Workshop (4.00)

Intermediate poetry writing. Presentation and discussion of student work and exploration of poetic craft and current issues in poetry and poetics. Students may retake a 2nd time with permission of instructor.

Course requisites: 202, 205 (if in poetry) or 206

ENG-303: Dramatic Wr II-Screenwriting (4.00)

DRAMATIC WRITING II: SCREENWRITING--Principles of the craft of the screenwriter with an emphasis on film structure and format through the reading of screen-plays and the writing of a feature-length scenario. Prerequisite: THE-203 or permission of the instructor. Cross-listed with THE-303.

Course requisites: ENG-203 or THE-203 (cross-listed)

ENG-304: Dramat Writ III-Writing for Television (4.00)

DRAMATIC WRITING III - WRITING FOR TELEVISION--Television has long been a dominant cultural and commercial force. Increasingly, it has become a significant artistic endeavor as well. With the advent of cable and "post-cable" networks and a bewildering array of viewer platforms, its ubiquity is undeniable. Giving our students the opportunity to write a television script will enhance their ability to understand the nature of the form, appreciate what goes into good television writing, and potentially begin to prepare themselves for a career. Cross-listed with THE-304.

Course requisites: THE/ENG-203 -OR- THE/ENG-303 or permission of instructor

ENG-308: Nonfiction Workshop (4.00)

Intermediate nonfiction writing with emphasis on the personal essay, the memoir, experimental forms, theory and practice of craft, oral interpretation and presentation and discussion of student work. Students may retake a 2nd time with permission of instructor.

Course requisites: ENG-208 (old ENG-200), 205 (if in nonfiction) or 206.

ENG-309: Literary Journalism: Long-Form (4.00)

LITERARY JOURNALISM: LONG-FORM--The assigned reading and writing assignments in this course will focus on "long-form" narrative nonfiction, and the gaze of the students will be directed primarily outward, towards a modern landscape convulsing with social, political, and environmental chaos and conflict, and yet one on which citizens still manage to devise strategies and enact policies in promotion of human decency and environmental preservation. How are superb reporters covering the world's most pressing issues and how can we emulate that work?

Description for "PUBLIC INTEREST JOURNALISM"--This narrative nonfiction-writing course addresses two significant, related streams in journalism: Public Interest reporting, whose stories expose an unjust or harmful status quo; and Solutions Journalism, an innovative approach which highlights successful responses-even on a micro level-to the world's challenges. Students will read and analyze important stories within general categories, such as Poverty and Social Justice, Abuse of Power, and Science and the Environment, while staking out and pursuing their own semester-long feature writing project.

Description for "SOLUTIONS JOURNALISM"--This writing-intensive course explores "Solutions Journalism," a news discipline focused on exposing societal problems and highlighting successful citizen or institutional responses to them at the global, national, state, or local level. Students will develop advanced skills in field research and reporting while producing a professional-quality story suitable for digital production.

Course requisites: ENG-208, ENG-205 (if non-fiction), or ENG-206

ENG-346: Creative Writing Workshop I (2.00)

CREATIVE WRITING WORKSHOP I: Our innovative Writer-in-Residence program is a mark of Agnes Scott's distinctive creative writing program that allows students to write with esteemed visiting artists and builds on one of the colleges finest and most noted traditions of connecting our students with established literary and cultural figures, as was the case with Robert Frost beginning in the 1930s.

Description for "KIRK WRITER-IN-RESIDENCE WILLIAM BOYLE" :This specific seminar focuses on the craft of detective fiction.

Course requisites: ENG-206

ENG-365: Editing, Publishing, and the Writer's Festival (4.00)

In this course, students will study editing, publishing, and work for the Writers' Festival, including the Writers' Festival Magazine, gaining practical experience managing its production and personnel, making editorial and artistic decisions, and using both social and print media to promote and advertise the contest and the Festival itself. This course gives students an opportunity to experience magazine publishing and publicity for an important event. Junior or Senior standing is required.

Course requisites: JR or SR standing & one 200-level English course

ENG-415: Directed Study in Creative Writing (2.00)

Advanced study in literary craft under the supervision of a department member.

Course requisites: 300-level course in the chosen genre AND completion of the English dept's ENG-415 application form (contact your ENG advisor for the form and approval).

ENG-481: Senior Research Seminar in Creative Writing (4.00)

This capstone course enables the senior English major to complete an independent creative writing project in a seminar setting. The seminar provides a creative context that fosters imagination, originality, and attention to all aspects of craft. Students generate substantial original projects based on previous coursework, relevant reading, and research and also write an accompanying craft essay. Working with a faculty adviser and in workshops with other students in the seminar, the student develops a substantial piece of writing, revises the work to a high standard, and presents a portion of the work at public reading. For the relationship of this seminar to senior independent study, see 490 (creative writing).

Course requisites: Restricted to senior English Literature-Creative Writing majors who have taken 2 creative writing courses, one at the 300-level

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