Expanded Descriptions for Fall 2012 Courses
20547 ENG 110A (FYS): ISLAND LIVING/ISLAND LEAVING
Prof. S. Cohen
4 credits
This course fulfills the Cornerstone Literature Requirement
This seminar will explore the literature of islands. This will be a semester-long inquiry into how the unique conditions of island living shape literature and culture. We will study texts about castaways, pirates, tourists, islanders, and adventurers in order to discern what makes stories about islands so compelling and enduring.
20548 ENG 111A (FYS): RITES OF PASSAGE METAMORPHOSIS IN WESTERN LITERATURE
Prof. J. Green
4 credits
This course fulfills the Cornerstone Literature Requirement
"Where do we come from? What are we? Where are we going?" So reads the inscription on Paul Gaugin's 1897 painting of the same name. Big questions, to be sure, and even if our course will not provide any conclusive answers, we will examine this desire for self-knowledge through the theme of transformation (physical and otherwise) in Western literature from Ovid through Shakespeare and on to the nineteenth and twentieth centuries with Stevenson, Kafka, Woolf, Eliot, and Joyce. Through close readings of our key texts, we will explore issues of language, power, gender, race, class, and identity formation, and consider the ways in which literature itself is a process of metamorphosis. The intensive writing component of the course is similarly organized around the principle of transformation: through careful revision and rewriting, we will approach critical analysis as a process by which our observations and intuitions are reshaped into rigorous, persuasive critical prose.
20549 ENG 112 (FYS): REPRESENTATION AND THE ELUSIVE REAL IN THE MOVING IMAGE
Prof. D. Itzkovitz
4 credits
This course fulfills the Cornerstone Literature Requirement
This seminar will provide you with an introduction to film representation through both theory and practice. Our work will be comprised of the intensive study of film language, technique, and theory, and we also make short films, to enable you to explore the techniques we learn together first-hand. (Also earns credit toward the Cinema Studies minor).
20555 ENG 127A(FYS): THE ART OF MEMORY: AN INTERDISCIPLINARY STUDY
Prof. A. Brooks
4 credits
TR 11:30-12:45
This course fulfills the Cornerstone Literature Requirement
This course will be an interdisciplinary study of memory specifically analyzing and discussing how different artists, writers, and filmmakers depict memory. We will discuss not only how it's used in their work, but also how they represent the way it functions and its role in the work itself. We will look at how different approaches and mediums reveal or expose different aspects or experience. We will watch the films Tarnation by Jonathan Caouette and Chris Marker's La Jetee, read Alison Bechdel's Fun Home, Marie Howe's What the Living Do, Joe Brainard's I Remember as well as various essays (Joel Agee and bell hooks), look at the art work of Christian Boltanski, Felix Gonzalez-Torres, and Harry Dodge and Stanya Kahn, and listen to The Disintegration Loops by Wiliam Basinki. There will be short papers written over the course of the semester. The knowledge and information gained through your writing and discussion will inform a final creative project depicting memory in your own way and not restricted to any medium.
20556 ENG 200A INTRO TO LITERARY STUDIES
Prof. M. Borushko
3 credits
MW 8:00-9:15
This course is required for majors.
This course serves as an introduction to the advanced study of literature, as well as to the kinds of thinking and writing expected of students majoring in English. We will proceed through three units. In the first we will read a selection of poems from various historical eras with an eye towards form: in other words, we will focus on the poems' formal characteristics as well as the poets' choices of shaping forms for their poems - choices that come with traditions and rules - including sonnets, sestinas, pantoums, villanelles, and more. The second unit is a brief but representative survey of the history of the short story beginning from its origins in the nineteenth century with Gogol, Chekhov, and Poe, and continuing with some of its best known practitioners in the twentieth century, including Baldwin, Borges, Carver and others. For the final unit we will read Ian McEwan's Saturday, a novel from our own historical moment. Along with our reading of poetry and fiction, we will take a look at a handful of examples of literary criticism and theory as a way to discuss methodology in literary studies. Specific course goals include the following: (1) to refine students' skills in the art of close reading by heightening your sensitivity to the nuance and power of language; (2) to grasp the significance and complexity of an author's formal and generic choices; (3) to become more adept at writing about literature with the precision and perspective necessary to become successful English majors.
20557 ENG 200B INTRO TO LITERARY STUDIES
Prof. S. Gracombe
3 credits
MW 4:00-5:15
This course is required for majors.
"Language is as real, as tangible, in our lives as streets, pipelines, telephone switchboards, microwaves, radioactivity, cloning laboratories, nuclear power stations." -Adrienne Rich
Put simply, the goal of this class is to become more knowledgeable, confident, and critical readers. Concentrating on the strategies and vocabulary for literary analysis, the semester will be organized around the three main genres: fiction, poetry, and drama. Subjects for investigation include both the defining features of these genres (what makes a novel a novel? Can a short story be considered an elegy? What is magic realism?) and the questions raised by individual texts (how is Sherlock Holmes an analogue for the reader? Is Andrew Marvell's "mistress" really "coy"? Are the ghosts in Turn of the Screw real? Does it matter?). A variety of assignments will give you the chance to practice writing about texts with clarity and creativity, helping you to articulate your own interests in and assumptions about literature.
20558 ENG 201A LITERARY HISTORY I
Prof. H. Duncan
4 credits
M 8:30-9:20am; TR 1:00-2:15
This course is required for majors.
This course is the first semester of the year-long survey course required of English majors. Rising sophomores and incoming freshmen have scheduling priority for this team-taught course, but any English major or minor is welcome to enroll. This survey introduces students to English literary history through poetry, drama, and narrative, from their Anglo-Saxon roots to the development of English literary genres in the medieval and early modern periods.
20559 ENG 205A FICTION
Prof. S. Gracombe
3 credits
MW 1:00-2:15pm
This course fulfills the elective requirement for English majors/minors and is open to non-majors as well.
"The more we learn about the history of the novel, the stranger it becomes."-Franco Moretti, The Novel
"The good ended happily, and the bad unhappily. That is what Fiction means."-Oscar Wilde, The Importance of Being Earnest
Is Oscar Wilde, who offered the above definition of fiction (with tongue firmly in cheek), correct? What does "fiction" really mean? This course will investigate the definition and evolution of fiction through close readings of novels and short stories of various genres, from Bildungsromans to ghost stories, Modernist novels to magical realism. Particular attention will be paid to the following questions: What are the defining features of these genres? How do they attempt both to record and to influence the exterior world-the events, spaces, and social dilemmas of their times? How do they reflect changing theories about the interior world, what Virginia Woolf called "the dark regions of psychology," especially the nature of desire and gender? How does each genre (re)define what constitutes reality? Throughout the semester, we will examine the plot structures and narrative techniques writers have invented to translate these realities and "dark regions" to the printed page.
Possible texts include: Jane Austen's Northanger Abbey, Charlotte Brontë's Jane Eyre, Sheridan Le Fanu's "Green Tea," Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, James Joyce's Dubliners, Virginia Woolf's Mrs. Dalloway, Michael Cunningham's The Hours, Gabriel Garcia Marquez's Of Love and Other Demons, and Geoffrey Eugenides' The Marriage Plot.
20560 ENG 220A CONTEMPORARY U.S. ETHNIC WOMEN WRITERS AND POLITICS OF REMEMBERING
Prof. A. Opitz
3 Credits
TF 11:30-12:45
This course counts as an elective for English majors and is open to non-majors as well.
What ghosts haunt the U.S. ethnic literary imagination? This course focuses on the works of contemporary U.S. ethnic women writers and the role that memory/remembering plays in the formation of identity and community. In addition we will consider what these works tell us not only about the importance of remembering but also about the nature of memory, and history, itself. How, in other words, do these texts "theorize" memory and history, and why do these matters concern women writers in particular? What narrative strategies do these writers employ to engage with personal as well as national "hauntings"? In addition to works of fiction, we will frame our conversations with some critical essays on memory, history, and national belonging by Michelle Cliff, Jamaica Kincaid, Lisa Lowe, among others. Students can expect to write a midterm and a longer final paper, as well as shorter weekly responses (on elearn), collaborate on one presentation or lead discussion, and participate in lively conversation.
Course readings will include a selection of the below:
Toni Morrison, Beloved
Louise Erdrich, Tracks
Sandra Cisneros, Caramelo
Maxine Hong Kingston, Woman Warrior (excerpts)
Edwidge Danticat, Dew Breaker or Breath, Eyes, Memory
Monique Truong, The Book of Salt
Bharati Mukherjee, selections from Middleman and Other Stories
Nicole Krauss, The History of Love
20561 ENG 220B MODERNSIM AND THE CITY
Prof. S. Cohen
3 Credits
WF 10:00-11:15
This course counts as an elective for English majors and is open to non-majors as well.
How does the modern artist approach and appropriate the experience of metropolitan life? How does the urban environment of the city transform the perception of language? How does an unseen sprawling imperial periphery inform perceptions of the city at the heart of an empire? In this seminar we will explore a number of texts that reflect changes in the landscape of the modern metropolis. By surveying a variety of cultural texts we will trace the complex new metropolitan relations that were central to the development of experimental modernism and consider the role that cities played as meeting places, crossing points, and artistic centers. We will likely read texts by Joseph Conrad, E.M. Forster, James Joyce, T.S. Eliot, Virginia Woolf, Djuna Barnes, and others.
20562 ENG 300A CRITICAL THEORY
Prof. S. Kane
3 Credits
TR 10:00-11:15
EN300 may be taken in fulfillment of the critical theory requirement.
Prerequisite: ENG 200
20563 ENG 301A ROMANCE AND THE MONSTROUS
Prof. S. Kane
3 Credits
TF 1:00-2:15
This course fulfills the Medieval requirement.
In the Medieval period, romance - narrative poems addressing a broad range of social, material, and conceptual questions - was by far the dominant and most popular of literary genres. In this course we will examine a range of French and English romances which pose these questions through the idea of the -Monstrous,‖ that category which falls outside a culture's self-definition and therefore had to be aggressively confronted and suppressed. Literary representations of monstrosity - not only giants, dragons and the like, but also behaviors such as rape and unrestrained violence, as well as identities such as Jews, Muslims and homosexuals- often give rich insight into a culture's self-imagining. Medieval romances were a complex expression of those cultures' necessary Others; in this course we will examine the many assumptions and representational strategies Medieval authors used to create textual coherence in their societies.
We will also consider our assumptions about the Middle Ages as our historical Other.
Students will take short weekly translation quizzes for about half of the course as we become comfortable with Middle English. Students will also write two papers of 5-7 pages each, as well as a final research paper of 12-15 pages.
20564 ENG 306A TOPICS IN BRITISH LITERATURE: Jane Austen, 1800-2012
Prof. S. Gracombe
3 Credits
R 2:30-5:00
This course fulfills the Literature and Cultural Studies 1700-1900 requirement for English majors.
From Mr. Knightly to Keira Knightley, from Pride and Prejudice to Bride and Prejudice, Jane Austen's work has never gone out of style; indeed it is currently experiencing the latest in a series of revivals. This course will explore Austen's appeal over the last 200 years. We will focus on what shaped Austen's novels-particularly late-18th and early-19th century debates surrounding gender, matrimony, class, and genre-as well as how Austen's novels have shaped our own expectations, both literary and romantic. The focus will be on Austen's major novels, but we will also examine some of the spirited scholarly arguments about her work as well as some of the spin-offs and adaptations this work continues to generate
20674 ENG 307A MODERN BRITISH NOVEL
Prof. S. Cohen
3 Credits
WF 1:00-2:15
This course fulfills the Literature and Cultural Studies 1900 - present requirement for English majors.
This course will be a survey of the modern British novel. We will likely read novels by Conrad, Joyce, Woolf, Lawrence, Ford Madox Ford, and Evelyn Waugh.
20566 ENG 315A THE ROMANTIC AGE
Prof. M. Borushko
3 Credits
TR 10:00-11:15
This course fulfills the Literature and Cultural Studies 1700-1900 requirement for English majors.
This course offers a comprehensive study of the literature of the Romantic Age in Britain, spanning roughly the years 1789-1832. We will examine the poetry, novels, drama, and nonfiction prose of the period with special attention to its aesthetic inheritance and its historical context. Some of the intellectual and literary trends that will concern us include following: the backdrop of the French Revolution and Napoleon; the upending of an eighteenth-century neoclassical aesthetic and moral sensibility; the profound change in poets' sense of their responsibility to their fellow humans and to society; the new "Romantic" way of looking at and writing about nature; and the rethinking of history and individual agency in the second generation of Romantic writers. Readings from a selection of the following authors: Blake, Wordsworth, Coleridge, Godwin, Burke, Wollstonecraft, Paine, Keats, P. B. Shelley, Mary Shelley, Byron, Austen, Scott, Hazlitt, De Quincey, Clare, and others.
20567 ENG 342A CREATIVE WRITING: Poetry
Prof. A. Ross
3 Credits
W 6:30-9:00
This course counts as an elective for English majors and is open to non-majors as well.
The goal of this course is to help students strengthen and re-imagine their poetic voices and to consider aspects of the craft of writing poetry through reading, writing and revising poems, as well as participating in writing workshops. In pursuit of this goal, we will engage in peer and instructor critique in the workshop model, in-class writing, and take-home exercises. We will also read poets such as Dickinson, Bishop, Larkin, Brooks, Heaney, Komunyakaa, and Lorca (among many others) whose poems will serve as examples of the type of work that we are striving to create. The analysis of the work of their peers and of other published poets will enable students to hone their critical faculties and turn this same analytical eye on their own work. In addition, students will attend at least one poetry reading during the course and write a critical review of it, complete a critical written annotation of a poem, and compile a final portfolio of their work.
20568 EN 343A BEGINNING FICTION WORKSHOP
Prof. A. Brooks
3 Credits
W 2:30-5:00
This course counts as an elective for English majors and is open to non-majors as well.
This creative writing course will offer an introduction to fiction writing with an emphasis on experimentation in form and process. You will have weekly writing assignments based on our
readings. In order to deepen our knowledge and abilities, we will also be reading the work of many recent and contemporary writers. Class time will generally be divided between discussion of the reading and discussion of our own writing. We will also do some in-class writing experiments. This class is designed to give students the time and space to explore a wide variety of forms, styles, and voices, while
also providing them with a sense of some of the major trends, currents, and controversies that are present in contemporary writing. This course will also give you some beginning experience with the
workshop model used in many of the upper level creative writing courses. We will read work by Amy Hempel, Marie Howe, Jayne Anne Phillips, Sherman Alexie, Alice Munro, Edward P. Jones, Sharon
Doubiago, Miranda July, Lydia Davis, Linh Dinh, Eileen Myles, Lynda Barry, and others.
20529 EN 353A SHAKESPEARE
Prof. H. Duncan
3 Credits
M 2:30-5:00
This course fulfills the Early Modern Literature requirement for English majors.
We read a sampling of Shakespeare's dramas-most of them famous, some less familiar-and situate them within the playwright's various cultural "contexts": early modern social structures, economics, sex, gender, race, religion, war, and politics. Some of our attention will be focused on the conventions of staging and play-going in early modern England and on Shakespeare in our modern medium of film. Our primary mission, however, will be working intensely with the texts of the plays: we identify recurring themes and discuss different interpretive choices, and, above all, we hone our skills as close readers of Shakespeare while becoming acquainted with Renaissance conventions of figurative language and the playwright's own techniques of verbal patterning and dramatic structure. As we explore various approaches to the scholarly study of Shakespearean drama, we read some primary and secondary sources that will help us situate the plays within the history and culture of early modern England as well as within a variety of contemporary critical discourses. Among the plays under consideration for the course are: Antony and Cleopatra, Love's Labors Lost, As You Like It, Measure for Measure, Macbeth, The Tempest, and Pericles, King John, Tempest, Coriolanus.
The class meets once a week for two and a half hours. Coursework consists of a couple of short essays, one long final paper (12-15 pages), quizzes, and in-class presentations.
20570 ENG 360A AMERICAN LITERATURE TO 1865
Prof. L. Scales
3 Credits
MW 2:30-3:45
This course fulfills the Literary and Cultural Studies 1700-1900 requirement.
This course surveys American literary production from European contact through the Civil War. We will look at narratives of origins and encounter, unpack Calvinist, Enlightenment, and Gothic ideas of the self, and examine the fissures and fractures that slavery and Native American removal opened in the emerging nation. Topics will include, among others: personal narratives and the status of the individual; the changing nature of religious expression; visions of reform and revolution; nature, wilderness, and the "frontier;" and ideas of public and private in the literary marketplace.
20671 ENG 366A THE CITY IN AMERICAN LITERATURE
Prof. L. Scales
3 Credits
MW 1:00-2:15
This course fulfills the Literary and Cultural Studies 1900-present requirement.
Increasingly in the nineteenth and twentieth centuries, American life was urban life. This course will consider the ways American literature responded to both the possibilities and the problems of the city as it grew in size, scope, and diversity. Topics will include: representations of urban consciousness; the status of the observer; urban architecture and the space of the city (the skyscraper, the apartment building, the street, the sidewalk, the hotel, the park); city planning, reform movements, and attempts to control urban "problems;" poverty and wealth; race, ethnicity, and constructions of the "alien" and the "other"; and the status of family and community.
Authors may include: Edgar Allan Poe, Walt Whitman, Jacob Riis, Henry James, Upton Sinclair, Edith Wharton, Theodore Dreiser, Ralph Ellison, Nella Larsen, Langston Hughes, Alfred Hitchcock, and John Edgar Wideman.
20572 ENG 367A 19th CENTURY AMERICAN LIT.: AMERICAN GOTHIC
Prof. L. Scales
3 Credits
T 2:30-5:00
This course fulfills the Literary and Cultural Studies 1700-1900 requirement.
What ghosts haunt America? American culture is often depicted as obsessed by questions of origin and as haunted by its traumatic history--the Salem witch trials, the revolution, slavery, the Civil War. No mode explores these issues so well as the Gothic, and no mode has met with such consistent popularity since its inception. This course will examine Gothic fiction and its ghastly conventions as it develops into a distinctly American form. The texts on the syllabus will travel through a range of Gothic landscapes as we explore the terrors-both real and imaginary, both pleasurable and awful-of nineteenth-century America.
Possible authors include: Washington Irving, Charles Brockden Brown, Nat Turner, Hannah Crafts, Edgar Allan Poe, Herman Melville, Hannah Crafts, Henry James, Charles Chesnutt, Charlotte Perkins Gilman, and Toni Morrison.
* 20573 ENG 371A MADNESS AND INSIGHT: Psychological Narratives Before and After Freud
Prof. J. Green
3 Credits
WF 2:30-3:45
*ENG371A is part of the Learning Community course, "Freud and the Modern World," and is linked to ENG390A, "Freud's Cases," and LC261A, "Psychoanalysis and Modern Culture." ENG371 may be taken for credit in the Literary and Cultural Studies 1900-Present requirement for the English major.
The 1899 publication of Sigmund Freud's The Interpretation of Dreams is commonly acknowledged as one of the watershed moments in the emergence of literary modernism. This course will examine how the ideas of Freud and subsequent psychoanalysts transformed the forms and themes of literary representation. We will begin with several nineteenth century authors, including Poe, Dostoevsky, Gilman and Maupassant, who limned a literary idiom for exploring the complexities of the psyche prior to psychoanalytic theory. We will then turn our attention to post-Freudian authors and the varieties of response to psychoanalytic ideas in literary modernism. Our readings will contend with the major topic of Freudian psychoanalysis, including the structure of the self, hysteria, paranoia, narcissism, fetishism, desire, the Oedipus Complex, the pleasure principle and the death drive, as represented in the work of twentieth-century authors such as Schnitzler, Woolf, Kafka, Gide, Nabokov, Pynchon and Auster.
*20574 ENG 390A TOPIC MODERNISM: FREUD'S CASES
Prof. D. Itzkovitz
4 Credits
MW 1:00-2:15
This course may be taken for credit in the Literary and Cultural Studies 1900-Present requirement for the English major.
*This course is one component of LC261 Freud and the Modern World
This course provides an introduction to psychoanalysis through Freud's case studies and some of the major works on society and culture. Beginning with an examination of the astonishing case histories as theoretical, literary, and historical documents, we'll explore how Freud used them to work out the basic tenets of psychoanalysis, examining their broad range of implications for clinical, as well as artistic and theoretical expressions. We'll enter into the conversation at one of its most enthralling moments, the moment patient Anna O.- hysteric, genius and future feminist leader-discovers the only thing that seems to help her with her odd array of symptoms: the method she names "the talking cure." We'll develop our knowledge of foundational psychoanalytic concepts through a close reading of Freud's early writings on dreams. And finally we'll turn to the later cases - "the Rat Man," "the Wolf Man," "little Hans," and others-exploring how psychoanalysis developed on the couch and on the page, and how Freud himself developed into one of the 20th century's most towering and controversial figures.
Freud's primary texts will be supplemented by his cultural analyses, along with cultural and theoretical texts from the past century. In therapeutic circles, psychoanalysis has come to seem largely irrelevant to a 21st century America mired in managed care, psychopharmacology, and rituals of self-help: in this class the status of psychoanalysis-as a way of describing and theorizing modern humanity, and as a "cure"-will remain an open question.
*20577 LC261: INTEGRATIVE SEMINAR: FREUD AND THE MODERN WORLD
Green /Itzkovitz
3 Credits
M 2:30-5:00
This course will consider the reception and circulation of Freudian and post-Freudian ideas in popular culture, including painting, cinema, television and new media. In addition to close examination of a range of visual media, we will meet with professional psychoanalysts and clinical psychologists who will offer the psychoanalytic profession's contemporary perspective on Freud and his key concepts. Our LC may also involve travel to New York City to see first-hand the influence of psychoanalysis on modern art.
20698 ENG 391 ENGENDERING THEORY
Prof. G. Piggford, C.S.C.
3 Credits
WF 11:30-12:45
This course may be taken in fulfillment of the critical theory requirement.
Does "woman" really exist? Does "man"? This course engages with such questions and provides an introduction to the main currents of critical theory in the twentieth century, with an emphasis on the mid-century influence of structuralist and poststructuralist philosophy on understandings of sex, gender, and sexual identity. We will examine feminist criticism beginning with Mary Wollstonecraft and including Virginia Woolf, Simone de Beauvoir, Laura Mulvey, Monique Wittig, and Adrienne Rich, and we will discuss gender and sexuality in relation to psychoanalytic, ideological, and deconstructive theories. Theory will be connected to literary, filmic, and televisual texts.
20575 EN422A SEMINAR: FLANNERY O'CONNOR
Prof. G. Piggford, C.S.C.
3 Credits
TR 4:00-5:15
This course fulfills a major requirement.
An examination of Flannery O'Connor's fiction in her cultural context and in relation to, especially, psychoanalytic theory.
20576 ENG 475 INTERNSHIP
Prof. B. L. Estrin
March 9, 2009
. . . excerpted from "Behind the Curve" By PAUL KRUGMAN
THE NEW OLD NEWS
President Obama's plan to stimulate the economy was "massive," "giant," "enormous." So the American people were told, especially by TV news, during the run-up to the stimulus vote. Watching the news, you might have thought that the only question was whether the plan was too big, too ambitious.
Yet many economists, myself included, actually argued that the plan was too small and too cautious.. . .
______________________________________________________________________________________
Why quote The New York Times from two years ago in a course brochure? Despite the fact that the stock market is rising, the reason is obvious: the vista for graduates is still bleak. The bad news is that it's going to be difficult in 2012 to get a new job when so many Americans, currently employed, are losing theirs or those, already experienced, are competing for the same jobs as newly-minted graduates. Yes, you can retreat from the job market by going to graduate school, but what happens then? On February 25, 2011, The New York Times reported that 5 per cent of American colleges have imposed a total hiring freeze, and an additional 43 per cent have imposed a partial freeze. So what's the good news? It's easier than ever to get an interesting internship-at a museum, a hospital, a non-profit, a bank, the district attorney's office, a television station, a ballet company, a food magazine, a publishing company, an online career planner (really useful), an inner-city service organization, a public relations company, a newspaper, a magazine, a law firm, a toy manufacturer: the list is infinite. Of course it's easier because all these companies are letting lower echelon people go and using interns to fill the void. The further good news is that you'll be able to prove your worth-and perhaps even get a job in that company as the economy improves-and you'll give yourself skills of all kinds to make yourself marketable. Most important, you'll be ready to hit the pavement running with real experience under your belt. As an English major, you have the requisite critical thinking, reading, and writing skills necessary for any number of occupations and, with an internship on your resumé, you'll be able to demonstrate that your insights into Shakespeare and Derrida, Hitchcock and Zizek, will stand you in good stead.
Internships are open to junior, as well as senior, English majors.
***A three-credit internship requires one free day, and a six-credit internship requires two free days, for the practicum.
Required reading-daily New York Times
Students will keep a journal weekly and send me three articles (with the journal) from The New York Times or, if more relevant, The Boston Globe, with a brief summary of their relevance to your job. Finally, at the semester's end, students will write a paper about their experience targeted for future interns who might what to work at the site. The paper will include a one-page description of current practices and problems in the particular field of the internship. That section of the paper will involve some research and some knowledge developed from hands-on experience derived from the internship itself. All students will be required to complete a satisfactory cover letter and resumé that includes your internship experience.
Students will meet with the instructor in the spring semester (shortly after pre-registration) to work on resumé writing, cover letters and to set up the internship for the following fall. Students will also be able to access potential internship sites in the Career Services Office (across the hall, right in Cushing-Martin) by making an appointment to see the director of internships, Important news: the requirements have been changed and you can now do your internship in the summer (or use your summer job for internship credit) and get course credit for it in the fall. You can do the field work in the summer, attend the seminars in the fall and write your paper at the end of the fall semester.
If you have a double major, you may be able to do a six-credit internship and get credit for both subjects. Art history, political science, business, and communications majors have been particularly successful in combining their internships.
20583 VPT 306A INTRO TO PLAYWRITING
Prof. D. Eliet
3 Credits
M 4:00-6:30
Participants will be putting pen to paper with weekly writing assignments covering the basic concepts of playwriting - characterization, dialogue, and plot development. This will be an active participation class with students sharing and talking about their own and each other's work in class as they develop their scenes and one act dramas.
Note: May be taken for English credit. This course may be taken for credit toward the Creative Writing minor.