It will give you a good grounding in English grammar as well as a solid sense of the origin of English vocabulary. As well as learning the Old English language, we will read Old English poetry, including "Caedmon's Hymn," "The Seafarer," "The Wanderer," "Dream of the Rood," "The Battle of Maldon," and the epic Judith, about a warrior maiden who leads her army to heroic conquest "Sloh tha wundenlocc thone feondsceathan fagum mece It is like no other poetry in English. Reading it in the original language allows you to practice intense close reading, an essential component of a literary education.
- Literary Terms and Definitions S?
- Share this page.
- Solitons, Instantons, and Twistors (Oxford Graduate Texts in Mathematics).
- Paying the Mechanics Bill (Dirtyhunk Gay Sex Stories);
- Spanish literature!
You will also be introduced to Norse and Celtic myths. Old English inspired J. Tolkien's Hobbit and The Lord of the Rings. It inspired Seamus Heaney's North as well as his Beowulf. And it was a profound influence on Jorge Luis Borges. We will examine runes and learn to make manuscripts. A working knowledge of English grammar is recommended. The course examines literature, film, memoirs, music, visual arts, memorials, museums, and video archives of survivor testimonies to explore narrative responses to racism and the destruction of European Jewry and others during World War II.
There are no prerequisites. DG AL. College Writing or with a grade of "B" or better. Students interested in the course should submit an application to writingcenter acad. While the preferred deadline was set for March 10th, additional applicants may be considered if seats are available. The strongest applications will be invited to an interview. This class is organized around the question of why certain plots, literary styles, genres, themes, ideas, or ways of understanding the world became ubiquitous in novels at different moments in the nineteenth century.
Topics: ghosts and the supernatural; gender and the marriage plot; domestic and imperial fiction; capitalism and socialism; realist and sensation novels; labor and social class; family and childhood; travel and worldliness; death and inheritance. Assignments will include response papers, reading quizzes, and two researched critical essays. Students will read and write a variety of literary non-fiction forms, including memoir, documentary essays, and profiles, and the course will have a workshop component. Students will also be encouraged to try other forms of non-fiction, including travel writing, interviews, editorials, reviews, etc.
How can one original work be called predictable but the retelling of a classic still manages to surprise? What are the rules of fiction and how does some of the freshest, most challenging work break them all? In this course we will read a variety of traditional and non-traditional short fiction, memoir, non-fiction, mixed-media and fables as a way of exploring narrative form, dialogue, pacing and more.
By the end of the course, each student will have extensive practice as a critical reader who interrogates form and style choices just as much as narrative, be able to discuss both published and peer work with respect and authority and have a portfolio of writing that covers a spectrum of genre. Students must be prepared to produce original work and read assignments regularly, actively engage in discussion and provide written feedback to peers thoughtfully and with absolute respect.
Like a good song, good poetry gets stuck in your head. Rather than an exam or final essay, class will culminate in the creation of a portfolio. Often our most magnificent achievements occur entirely by accident — a dish left on the counter produces penicillin, lightning strikes a key and we discover electricity. In this class, we will use the premise of the happy accident to guide our writing practice. We will think of our writing as both play and investigation, and spend our semester lingering at the outer limits of language, with the aim to surprise each other and ourselves with the stories hidden inside us.
Each week will be organized around a different form or inspiration for our writing, and each class will begin with a generative writing prompt to get our brains ready to reimagine what language can be.
My Shadow in Dachau
We will study sonnets and their reinventions, write from art and make art from writing, imagine what it would be like to write a story backwards. We will explore the strange space between genres, and work with sound, translation, and technology to inspire our creative work. As we conduct various language experiments, students will have the opportunity to meander on paths of interest to them, or remain in the land of pure discovery and produce a number of unrelated short pieces to refine and revise.
Our readings will include works by authors new and old who are experts in playing with language and convention. Students will amass a large quantity of creative work over the course of the semester, and take part in regular workshops to revise that work into a small, polished portfolio of writing in poetry and prose. We will end the semester by compiling a print anthology that will showcase the diverse. Structured in workshop style we will explore questions such as: What are our possibilities?
How can we bend our narratives? What is our unique, most authentic voice? While bouncing ideas of both form and content, we will listen to each other and our literary ancestors. By reading stories, poems and essays from all over the world—especially those that come from geographical and cultural spaces that are rarely represented in literature—we will focus on reading those writers who lead genuinely bilingual lives. Who construct worlds in English when, often, they live their lives in other languages.
Our purpose will be to let these styles, histories and inflections of other literary traditions seep into ours so that we are made all the more aware of what is possible.
THE LIFE OF DR. JOHN DONNE
How can we re-claim the language of our writing—English—and use it differently, more originally, to reflect the unique vantage points from which we see the world? This class is then, an exercise in continuous writing along our boundaries, around and beyond our boundaries, to discover ourselves as writers.
Students will be notified by the end of the semester of their status. Registration after this date is possible, but priority will be given to students who apply this semester for the fall. Registration by instructor permission only. Prerequisite: English majors only. English or equivalent with a B or better.
It seems that Irish writers have rarely been at a loss for words. Despite its size, Ireland has produced some of the most influential literary authors of the 20th century. We will pay attention to the social, historical and environmental conditions, which shape these narratives. This is a General Education course and in it you will also learn to communicate your ideas persuasively and with precision. You will be guided to read literary texts through the lens of contemporary concerns such as environmental degradation and climate change.
You will also gain a firm understanding of how literature reflects upon, critiques and sometimes 'predicts' political and environmental realities. Requirements: two essays pages , and frequent short writing assignments. We will consider a number of pertinent inquiries in the field, thinking about what makes for ethical scholarship in Indigenous literatures and how geographic place and specific tribal affiliation influence the work. Some of the conventions and themes we will trace include the engagement with oral tradition, representations of history, use of Native languages, cultural preservation, issues of sovereignty, and environmental concerns.
Authors will include N.
What are the richly diverse, original, and, at times, radically experimental narratives that evolve— sometimes quietly, other times filled with rage, almost always with longing, and, at moments, with deep love? Our goal in examining these novels will be double: on the simplest level, we will be interested in how these writers interpreted and responded to the places and times in which they lived — the major social, economic, and political events that shaped their lives; on a deeper level, though, we will consider how each of these works--and all of them together--attempts to create something we might call now an "American consciousness," attempts to invent, or re-invent, America.
And we will, of course, examine the novels, stories and poems as works of art. How do these authors create a space for the reader to enter— a space where understanding and empathy can grow? Our close textual readings will also help us to examine the subtleties of character interactions, the weaving together of multiple storylines, and the inventive narrative devices that each writer uses in creating their stories.
Books will be available at Amherst Books. Students gain practice writing in these genres, with an emphasis on clarity and concision. They develop more sophisticated research skills and gain experience in communicating specialized information to non-specialist readers. Finally, they are exposed to the range of professional writing careers as they explore writing on both theoretical and practical planes through consideration of audience, as well as wider professional, social, and cultural contexts.
Introduces principles of technical writing, usability, and page design. Students write a page manual documenting a software product, usually Microsoft Word.
Shakespeare’s Sonnets | Scarriet
For nearly 2, years, rhetoric has been the central academic discipline for thinking about the adaptation of discourse to purpose, audience, occasion, and subject matter. The earliest rhetorical arts were focused on public speaking in direct democracies; later rhetorics treated eloquence more broadly, including written discourse and its role in religion, science, commerce, art, and education. More contemporary rhetorical theories have expanded the purview of rhetoric to include visual media, digital culture, and nonverbal performance and to see rhetorical motivations lurking even in artifacts produced without conscious persuasive design.
Rhetoric is useful as a critical tool for analyzing others' discourse; as a practical art for inventing one's own discourse; and as a theoretical discipline for interrogating the languages of social and political life.
How Does Wilfred Owen Explore the Horror of War Through the Power of Poetry?
In this course, we'll learn about and practice these various rhetorics. The course is also meant to help students meet objective 10 of the English section of the Massachusetts Test for Educator Licensure MTEL : "to understand principles of rhetoric as they apply to various forms and purposes of oral and written communication. We will focus on the themes that have emerged in this body of American writing: identity, language, cultural hybridity, immigration, exile, class, race, gender and the continuous examination of what it means to be American in the twenty first century.
Our discussion will also be informed by scholarship on Hispanicity and Latinidades, and other media, including music, film and television. Students will read, write, and discuss personal essays as well as texts that address the relationship between writing and resilience. We will focus on process—how to produce narratives that are both artistically and therapeutically effective.
No prior experience with the medical humanities required. We will explore mostly American poetry written during the three most recent periods of capitalist economic crisis and corresponding social unrest: the s the s, and post Our guiding questions will be: How does poetry offer ways for its readers to grasp the contours of capitalism as a system contoured by asymmetrical class struggle, racism and sexism?
What strategies of resistance do American poets embrace and elaborate in their popular and experimental forms? What is the relationship between politics that take place in the streets and politics that take place on the page? What rich tensions arise between the poet as militant and the poet as artist? In our study of current poetry we will explore how American poets metabolize the rise of neoliberalism, and popular resistance to the politics of austerity.
Contemporary poets will include Keston Sutherland, M. Senior and Junior English majors only. Some of the questions we will be exploring are: What is language?
And can computer programing be considered a language?