Spring 2022 Courses

If a course is designated as low-cost, the course materials will cost $40 or less.
If a course is designated as no-cost, students do not need to purchase any course materials.
Course descriptions are subject to change based on instructor submissions. If the instructor has not submitted a course description, please refer to the PSU Bulletin for more information.

Spring 2022: Undergraduate English Courses

ENG 205 001 SURVEY OF BRITISH LIT II

Instructor: Professor Tracy Dillon
Instructional Method: Online

Our main objective is old-fashioned. This class can be described as a "coverage model" spanning roughly three centuries of literary, political, religious, and cultural thought in 10 weeks. No sweat, right? If we play well, we might even have some fun.

The goal is to introduce you to as much information as possible about the so-called Restoration (and eighteenth-century), about "Romanticism," and about the Victorian period. Hopefully, an author or topic will hook you and become the focus of further study as you move forward in your degree program, whether or not you are an English major.

Weekly reflective writing assignments will challenge you to think critically (and maybe creatively, if "critical" thinking and "creative thinking" can be thought of as the same thing) about the stock information contained in our definitive texts: Volumes C, D, and E of the 9th or 10th Edition of The Norton Anthology of English Literature.

Textbook: The Norton Anthology of English Literature, 9th or 10th Edition, Volumes C, D, and E. Note that course lectures will refer to the pagination in these editions, but savvy students hoping to save money can find used editions or earlier editions for a good price and supplement these resources in consultation with the Professor. Read: If it’s a tight month and your priorities don’t include buying three volumes of a brand-new Norton Anthology, we will explore other options.

The course is entirely online in CANVAS.

I hope to see you on the inside. Before and until then, if you have questions, contact the Professor at dillont@pdx.edu.

ENG 254 001 SURVEY OF AMERICAN LIT II

Instructor: Susan Reese
Instructional Method: In-Person Meeting

ENG 300 001 LIT FORM AND ANALYSIS

Instructor: Michael Clark
Instructional Method: Online

ENG 300 002 LITERARY FORM AND ANALYSIS

Instructor: Marcel Brousseau
Instructional Method: In-Person Meeting

ENG 301U 001 TOP: SHAKESPEAREAN GENRE

Instructor: Keri Behre
Instructional Method: Hybrid

In this hybrid course, we will undertake a close study of Shakespeare’s comedies. We will pay close attention to the complex and nuanced comic genre, the ways Shakespeare’s comedies evolved throughout the trajectory of his career, how the plays responded to historical context, and how they might be relevant in our current cultural moment. Our text will be The Norton Shakespeare: Comedies, 3rd Edition as well as some film versions of the plays we’ll study; students will help set the reading list during the first course meeting. Coursework will include recorded/captioned lectures and supporting materials for the “hybrid” portion, reading responses, class discussions, multiple drafts of an interpretive essay, and a creative final project that will engage print history and the craft of bookbinding. Absolutely no prior experience with Shakespeare is required – in this course, you will get everything you need to engage, interpret, and (I hope) enjoy the plays.

ENG 304 001 CRITICAL THEORY OF CINEMA

Instructor: Wendy Collins
Instructional Method: Online

ENG 305U 001 TOP: CLASSICS OF GOTHIC FILM

Instructor: Hildy Miller
Instructional Method: Remote - Scheduled Meetings

Gothic film, like Gothic literature, is a genre positioned right on the boundaries between reason and madness, mind and spirit, self and Other, natural and supernatural. Always, it reflects what haunts us in some way and, always, it is transgressive. Often it deals with subject matter that is dramatic, eerie, dark, and gloomy. Something is always haunting America, with the anxieties of a particular era reflected in our Gothic imagination. In this course we will watch classics of American Gothic film starting with excerpts from the great silent film The Cabinet of Dr. Caligari and tracking through the 20th and 21st centuries with films such as Dracula, Rebecca, The Night of the Hunter, The Bad Seed, Psycho, Whatever Happened to Baby Jane?, Rosemary's Baby, Don't Look Now, and Eve’s Bayou. Through both films and critical examinations of the Gothic, we will explore its conventions and try to arrive at a sense of why this genre endures—and even flourishes—though always responding to changes in prevailing styles of film over time.

Films: Eight of the nine films are available through Amazon Video—total cost to rent them and have a couple of months’ membership runs around $32-$40. (Of course, the films are available elsewhere too if you want to search.) The ninth film is free through PSU. Since the class is remote, you’ll view the films at home (most take about two hours) and, for most weeks, we’ll meet once a week for discussion.

ENG 305U 002 TOP: INDIGENOUS CINEMA

Instructor: Marcel Brousseau
Instructional Method: Online

ENG 306U 001 TOP: FANTASY LITERATURE

Instructor: Michael Weingrad
Instructional Method: In-Person Meeting

ENG 306U 002 TOP: PHILIP K DICK

Instructor: Tony Wolk
Instructional Method: In-Person Meeting

Reading and discussion of several PKD novels and short stories. Books will be available at the PSU bookstore. They will include: The Man in the High Castle; Martian Time-slip; Do Androids Dream of Electric Sheep?; Flow My Tears, the Policeman Said; The Transmigration of Timothy Archer; We Can Remember It for You Wholesale [short stories; Citadel]; Philip K. Dick: Selected Literary & Philosophical Writings [ed. Lawrence Sutin].

Discussion will take place in class as well as in weekly small groups.

Writing for the course will consist of weekly Course-Related Dialogue Journals, which invite both the usual sorts of response to literary works as well as imaginative explorations as though you were gifted with a mind like P. K. Dick’s (which of course you are). In effect you are writing both ABOUT AND AS A WRITER.

ENG 310U 001 TOP: CHILD/YOUNG ADULT LIT

Instructor: Maude Hines
Instructional Method: Remote - Scheduled Meetings

Confronting Slavery's Gothic Legacy in Children's and YA Lit:

When Scholastic Books pulled Ramin Ganeshram's 2016 book A Birthday Cake for George Washington in the wake of outraged reactions to its portrayal of enslaved people happily baking for the first president, it entered a longstanding debate about race and representation in children's literature. How much should young people understand the foundational role of slavery in our nation's history? Should some children be protected against even reading about realities that other children have to experience? What is the role of children's literature in presenting the ways slavery continues to haunt us today?

This term we will read children's and YA lit that represent slavery and its present-day legacies alongside critical writing about child development, the "Gothic," "racial innocence," and the responsibilities of writing for young people.

We will strive to create a sense of community in a remote environment. Surveys of learning styles and preferences will help determine the final structure of the course.

ENG 315 001 POETRY AND FORM

Instructor: Tom Fisher
Instructional Method: Remote - Scheduled Meetings

In this course we will conduct a wide study of poetic forms, from the sonnet to free verse, across historical periods and cultures as we trace and track the various ways in which formal conventions (or the lack thereof) create and respond to assumptions about the possibilities of poetry as a cultural, social, political and aesthetic practice.

Course Texts: All reading will be available online or through PDFs supplied by instructor.

ENG 320U 001 THE ENGLISH NOVEL I

Instructor: John Vignaux Smyth
Instructional Method: Online

This term we study works by four English novelists of the seventeenth, eighteenth, and early nineteenth centuries: Aphra Behn, Henry Fielding, Laurence Sterne, and Jane Austen. We will also watch films based on, or related to, these works. In addition, we read European works directly influenced by Sterne: Gogol's "The Nose" and Diderot's Jacques The Fatalist. And there will be secondary readings in philosophy (John Locke) and twentieth-century criticism and theory.

ENG 327 001 CULTURE, IMPERIALISM, GLOBAL

Instructor: Sarah Lincoln
Instructional Method: In-Person Meeting

Though there have been many attempts to identify the start of modern globalization, most agree that its origins lie in the experience of imperial conquest and expansion that began in the fifteenth century. Even now, pundits continue to debate whether to describe today’s world in terms of “globalization” or “neo-imperialism,” whether what defines our planet today is a utopian model of connection, mobility, and opportunity, or a dystopian structure of domination, infection, and exploitation. Partially, this depends on your position within these structures, but our attitudes and opinions are also naturally shaped by the cultural texts that seek to represent this era: the films, novels, tv shows, and other efforts to make sense of the experiences, structures, and modes of thinking that are shaped by, and help shape, our material relations.

In this class, we will work to consider the intersections of globalization and imperialism, and the continued relevance of “postcolonial” perspectives to our current era. Reading novels, films, and theoretical works from Africa, India, the Caribbean and beyond, we will grapple with topics like: economic dependence and domination; education, language, and culture; the environment, climate change, and slow violence; political conflict and the legacies of violence and war; migration and mobility; and the work of art in our time.

Required Books:

Adiga, The White Tiger
Césaire, Discourse on Colonialism
Conrad, Heart of Darkness (Norton)
Dangarembga, Nervous Conditions

ENG 333U 001 HST CINEMA/NARRATIVE MEDIA II

Instructor: Anne-Charlotte Mecklenburg
Instructional Method: Remote - Scheduled Meetings

ENG 335U 001 TOP: SERIAL FICTION

Instructor: Anne-Charlotte Mecklenburg
Instructional Method: In-Person Meeting

This course offers an overview of British and American serial fiction from the nineteenth century to the present. “Seriality” refers to stories that are told in parts over an extended period of time; this category includes everything from nineteenth-century realist novels, to television shows, to film franchises, and more. By comparing serials from different periods and mediums, we be able to engage more fully with question like: how do serials use narrative techniques like suspense to keep its audience coming back, and how does a serial's medium influence its use of these strategies? What kinds of assumptions do these texts make about what a "popular audience" looks like and what it wants? To what extent have audiences been able to influence the direction of serial stories, and what have been the limitations of that power? How have historical contexts impacted this reciprocal relationship between popular serial texts and their audiences? Does it even make sense to call a serial a single “text” in the first place? Readings will include literary and visual works spanning the nineteenth to the twenty- first century, as well as these works' adaptations, illustrations, unauthorized sequels, reboots, or fanfiction.

ENG 335U 002 TOP: ADAPTING LIT TO FILM

Instructor: Marcel Brousseau
Instructional Method: Online

ENG 345U 001 MODERN BRITISH LIT

Instructor: Josh Epstein
Instructional Method: In-Person Meeting

“I say, Am I not perhaps a little unhinged already?” –Samuel Beckett, Play

This course examines twentieth-century British(ish) poems, novels, and plays in which identity and selfhood are unsettled by modernity: technology, urbanization, and migration; new theories of mind and psyche, time and space; evolving categories of gender and sexuality, nation and race; and legacies of the British Empire. ENG 345U contributes to the Global Perspectives cluster, which “explor[es] the interplay between political, economic, environmental, and cultural systems, past and present.” Modernist and postmodern texts speak to the experiences of alienation, fatigue, isolation, loss, and fragmentation that have come to seem all too familiar during the pandemic—while, at the same time, connecting those experiences to aesthetic traditions, communication technologies, and marketplaces that can offer both conflict and solidarity, locally and globally. Thus while our texts challenge their readers with fragmented forms and bracing techniques, we’ll find them reimagining (and “unhinging”) the persistent questions of literature: Who am I? Why am I here? Is my voice my own? Is anyone listening to it? As “Britain” changes, do I change too? Do I dare disturb the universe?

Required Texts:

T. S. Eliot, The Waste Land and Other Poems (Broadview; 978-1551119687)
Virginia Woolf, Mrs. Dalloway (Broadview; 978-1551117232)
Jean Rhys, Good Morning, Midnight (Norton; 978-0393357806)
Sam Selvon, The Lonely Londoners (Penguin; 978-0141188416)
Sarah Kane, Crave (Methuen; 978-0413728807)

You may need to order the Selvon novel from an online vendor.

ENG 369U 001 ASIAN AMERICAN LITERATURE

Instructor: Marie Lo
Instructional Method: In-Person Meeting

ENG 372U 001 TOP: LIT, GENDER, & SEXUALITY

Instructor: John Vignaux Smyth
Instructional Method: Online

The focus of this class is on a wide range of texts and a couple of films that deal in thought-provoking ways with gender and sex, beginning with ancient classics (Sappho, Aristophanes, Plato), moving on to the Renaissance (Shakespeare) and the Romantic period (Balzac via Roland Barthes), and concluding in the twentieth century with Isak Dinesen and Neil Jordan’s film The Crying Game. In addition to the primary texts, we will read contemporary commentators of various persuasions.

ENG 372U 002 TOP: LESBIAN AND WOMXN IDENTIT

Instructor: Sally McWilliams
Instructional Method: Remote - Scheduled Meetings

ENG 399 001 SPST: LGBTQ+ COMICS

Instructor: Ari Yarwood
Instructional Method: Remote - Scheduled Meetings

Explore queer and trans comics through the lens of the publishing industry, taught by a professional comics editor. In this class we'll cover zines, webcomics, indie comics, traditional publishers, and more, and discuss how the particular structures of the publishing industry inform the content, readership, and finances of LGBTQ+ comics.

ENG 411 001 ENGLISH DRAMA

Instructor: Daniel Pollack-Pelzner
Instructional Method: In-Person Meeting

History Plays from Henry V to Hamilton:

“Who lives, who dies, who tells your story?” the final chorus of the musical Hamilton sings. We will explore answers to this question by reading plays from the writer who popularized the genre of the history play as we know it in English—William Shakespeare—as well as a diverse array of American playwrights who are rethinking the genre today. We will begin the course with works from Shakespeare’s Elizabethan cycle about medieval English kings and then turn to more recent plays about American history, many of them commissioned by the Oregon Shakespeare Festival's American Revolutions: United States History Cycle. We will discuss how Shakespeare represents history (As tragedy? Comedy? Male action? Female recollection? Nation-building? Multilingual conflict?) and compare his models to contemporary playwrights’ approaches. Throughout the course, we will treat plays as scripts for performance, looking at stage history and film adaptation, performing our own versions of selected scenes, and perhaps even writing our own stories.

Plays will include:

William Shakespeare, Henry V and Richard III
Mike Bartlett, King Charles III
Robert Schenkkan, All the Way
Dominique Morisseau, Confederates
August Wilson, Gem of the Ocean
Sarah Ruhl, Scenes from Court Life
Paula Vogel, Indecent
Qui Nguyen, Vietgone
Mary Kathryn Nagle, Manahatta
Lin-Manuel Miranda, Hamilton

ENG 413 001 TEACHING & TUTORING WR

Instructor: Dan DeWeese
Instructional Method: In-Person Meeting

English 413 is an introduction to the theory and methods of teaching and tutoring writing to secondary-level and adult learners. We will focus on practical and theoretical issues involved in coaching writers through a writing process, including strategies for invention, drafting, revision, and editing. In-class activities and a mix of informal and formal writing assignments will complement course readings and discussions. Normally, the course includes a required practicum. Due to the pandemic, we will practice responding to writing in-class this term.

ENG 428 001 CANONS AND CANONICITY

Instructor: Professor Elisabeth Ceppi
Instructional Method: In-Person Meeting

This course examines the historical, institutional, and ideological contexts in which traditions of “great works” have been established, contested, and creatively appropriated. It focuses on questions of literary value and its relation to national identity, cultural encounter, and power. It also investigates how categories of social difference such as gender, race, and class have shaped the criteria by which works and authors have been included and excluded from dominant traditions. We will explore these issues by taking Nathaniel Hawthorne’s The Scarlet Letter as a case study of “classic” American literature, tracing its critical and cultural history. We will read it alongside Harriet Jacobs’ Incidents in the Life of a Slave Girl, a work with similar themes published a decade after Hawthorne’s novel, which has become a critical text in multiple “revisionist” canons. We will consider the afterlives of both of these texts, and the effects of canonicity on artistic creation and cultural reception, in three contemporary works: Suzan-Lori Parks’ play Fucking A, the film Easy A, and Louise Erdrich's recently-published novel, The Sentence. Pre-requisite: ENG 300; Co-Requisite: WR 301. This course fills the Culture, Difference, and Representation requirement for the BA/BS in English.

Required Books:

Nathaniel Hawthorne, The Scarlet Letter (Norton Critical Edition)
Harriet Jacobs, Incidents in the Life of a Slave Girl (Dover)
Louise Erdrich, The Sentence (Harper Collins)

ENG 441 001 ADV TOP: RENAISSANCE LIT

Instructor: Prof. Jonathan Walker
Instructional Method: In-Person Meeting

Ovidian Adaptation and Transformation in Early Modern England:

Probably no other classical text exercised the minds and imaginations of English Renaissance writers as much as Ovid’s Metamorphoses. The fifteen-book poem takes as its central thematic the physical transformation of bodies—of “bodies becoming other bodies” (l. 3), in Allen Mandelbaum’s translation—including the gods into human- and animal-forms, demigods and humans into flora, fauna, and inanimate objects, rocks and other natural phenomena into human-form, changes in sex, color, and so on. The Metamorphoses was translated into English and printed by Arthur Golding in 1567 and once again by George Sandys in 1626, and (depending on how one counts) the 165–250 stories originally written and adapted by Ovid became the subject of countless poems, plays, and allusions throughout the medieval and Renaissance periods.

In this course, we will explore the legacy of The Metamorphoses in early modern England by examining some of the ways that Ovid’s stories of transformation were themselves transmuted into new narratives in order to serve the variable tastes of Renaissance readers and playgoers. To acquire a sense of these new narratives and their fidelity to and deviation from Ovid’s poem, we will spend the first three weeks of class reading the entirety of The Metamorphoses in a modern translation, after which we will study such texts as Shakespeare’s A Midsummer Night’s Dream, Francis Beaumont’s Salmacis and Hermaphroditus, excerpts from Golding’s 1567 translation, among other plays, poems, and translations.

The course is reading-intensive and above all discussion-based—there will be very few lectures. This means that you should be prepared to commit considerable time to reading and preparing for class and to participate actively in the discussions that will occupy most of our class time. During our conversations, I encourage you to voice your questions as well as your observations and ideas about the material: such contributions will be essential to the insights and knowledge we will gain about The Metamorphoses and the influential effects that Ovid’s poem produced within the Renaissance cultural imaginary.

ENG 464 001 ADV TOP: RACE AND MODERNISM

Instructor: Prof. Anoop Mirpuri
Instructional Method: In-Person Meeting

"Constant revolutionising of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.” –Karl Marx and Friedrich Engels, Manifesto of the Communist Party (1848)

“The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.” –Viktor Shklovsky, “Art as Technique” (1917)

This course examines modernism as the defining literary and aesthetic movement of the early twentieth century. We will explore modernism as a multifaceted artistic engagement with a rapidly changing and globalizing world. This was a “modern” world in which capitalist development was increasingly bringing different people into close proximity with one another, even as new borders, divisions, and identity formations (racial, sexual, gendered, national) were being constructed. In such a context, what we call modernism wasn’t so much a singular aesthetic movement, but rather a multifarious, diverse, and complex series of artistic responses to the shock of modernity. How did modernist literature negotiate the dramatic changes to everyday life and social relations that were emerging in a modern world shaped by industrialization, mass migration, rapid urbanization, consumer capitalism, and the proliferation of marketized and commodified forms of mass culture? Conversely, how did the experience of such changes animate the aesthetic and philosophical concerns of modernism, especially its commitment to formal innovation in art and literature? We will take up these questions by closely and carefully reading a small, though exemplary, selection of modernist works (primarily novels, but also poetry and works of visual art). Our focus will be on American literature, though we will situate it in relation to European modernism and global historical developments. Our inquiry will be guided in part by engaging the work of some of our paradigmatic theorists of modernity (Marx, Nietzsche, and Freud) as well as more recent and influential theorists of modernism (Frederic Jameson and David Harvey).

Required Books:

William Faulkner, As I Lay Dying
Sigmund Freud, Civilization and its Discontent
Dashiell Hammett, The Maltese Falcon
Ernest Hemingway, The Sun Also Rises
Gertrude Stein, Three Lives
Jean Toomer, Cane

NAS 410 Queer Indigenous Theory

Instructor: Professor Grace L. Dillon
Instructional Method: Online

Two-Spirit LGBTIQ2+ natures swim hard among strong cultural currents, resisting both colonial gender binaries and sexual regimes imposed by the legacy of nineteenth-century white manifest destinies, as well as skepticism and rejection by some traditional Native communities. Two-Spirit LGBTIQ2+ stories are at their core survivance stories. Biskaabiiyang, Anishinaabemowin for “returning to ourselves,” is a healing impulse and a manifesto for all peoples, whether Indigenous or just passing through, about discarding the dirty baggage imposed by the impacts of oppression, and alternatively refashioning ancestral traditions in order to flourish in the Native post-Apocalypse. Through a series of engagements with theory, fiction, poetry, film, and other media, we will explore the healing impulse that upholds the spirit of Two-Spirit LGTBIQ2+ Indigenous peoples.

Spring 2022: Graduate English Courses

ENG 507 001 SEM: LYRIC AND ANTI-LYRIC

Instructor: Joel Bettridge
Instructional Method: In-Person Meeting

What is lyric poetry and is there such a thing? This question has become more acute over the years given the degree to which much contemporary poetry is about the hybridization of genres. To both study the lyric as a driver of literary history and as a category still relevant to our literary, political, and cultural investments, in this class we will consider lyric poetry as a category with epistemological implications—how does the lyric, for example, shape our understanding of race and gender (and vice versa)?—and as a framework for surveying a range of American poets from the colonial period and the 19th Century through the Modernists and the later 20th Century. As we move forward, we will consider work that embraces the lyric tradition, work that revolts from it, and work that self-consciously follows a hybrid poetics. The critical prose we will read along the way will help us gain a richer sense of lyric theory and specific poets. Taken together, these readings will gain a richer understanding of the lyric tradition and its antagonists and why any of it matters.

ENG 507 002 SEM: PSYCHOANALYTIC CRITICISM

Instructor: Michael Clark
Instructional Method: Online

ENG 507 003 SEM: RENAISSANCE METAMORPHOSES

Instructor: Prof. Jonathan Walker
Instructional Method: In-Person Meeting

Ovidian Adaptation and Transformation in Early Modern England:

Probably no other classical text exercised the minds and imaginations of English Renaissance writers as much as Ovid’s Metamorphoses. The fifteen-book poem takes as its central thematic the physical transformation of bodies—of “bodies becoming other bodies” (l. 3), in Allen Mandelbaum’s translation—including the gods into human- and animal-forms, demigods and humans into flora, fauna, and inanimate objects, rocks and other natural phenomena into human-form, changes in sex, color, and so on. The Metamorphoses was translated into English and printed by Arthur Golding in 1567 and once again by George Sandys in 1626, and (depending on how one counts) the 165–250 stories originally written and adapted by Ovid became the subject of countless poems, plays, and allusions throughout the medieval and Renaissance periods.

In this seminar, we will explore the legacy of The Metamorphoses in early modern England by examining some of the ways that Ovid’s stories of transformation were themselves transmuted into new narratives in order to serve the variable tastes of Renaissance readers and playgoers. To acquire a sense of these new narratives and their fidelity to and deviation from Ovid’s poem, we will spend the first three weeks of class reading the entirety of The Metamorphoses in a modern translation, after which we will study such texts as Shakespeare’s A Midsummer Night’s Dream, Francis Beaumont’s Salmacis and Hermaphroditus, excerpts from Golding’s 1567 translation, among other plays, poems, and translations.

The course is reading-intensive and above all discussion-based—there will be very few lectures. This means that you should be prepared to commit considerable time to reading and preparing for class and to participate actively in the discussions that will occupy most of our class time. During our conversations, I encourage you to voice your questions as well as your observations and ideas about the material: such contributions will be essential to the insights and knowledge we will gain about The Metamorphoses and the influential effects that Ovid’s poem produced within the Renaissance cultural imaginary.

ENG 507 004 ENGLISH DRAMA

Instructor: Daniel Pollack-Pelzner
Instructional Method: In-Person Meeting

How can theater change the environment? And how do the dynamic environments in which theater takes place change what happens on stage? We will explore these questions by reading deeply in contemporary plays and ecological criticism, visiting Portland theaters to see their current shows, meeting with artists who can help us reflect on the environmental impact of their work, and writing to share what we learn with a broader community. Topics to explore include environmental justice, apocalyptic narratives, and possibilities for collective action. If you would like to build a life in the arts, learn how to make a difference in our changing climate, or just expand your own awareness of the stories we tell about the environments around us, this is the course for you.

ENG 518 001 COLLEGE COMP TEACHING

Instructor: Kate Comer
Instructional Method: Hybrid

ENG 519 001 ADV COLLEGE COMP TEACHING

Instructor: Kate Comer
Instructional Method: Hybrid

ENG 531 001 TOP: COLLOQUIUM

Instructor: Josh Epstein
Instructional Method: In-Person Meeting

NAS 510 Queer Indigenous Theory

Instructor: Professor Grace L. Dillon
Instructional Method: Online

Spring 2022: Undergraduate Writing Courses

WR 115 001 INTRO TO COLLEGE WRITING

Instructor: Ambra Wilson
Instructional Method: In-Person Meeting

WR 121 001 COLLEGE WRITING

Instructor: Robin Emanuelson
Instructional Method: In-Person Meeting

WR 121 002 COLLEGE WRITING

Instructor: Echo Meyers
Instructional Method: In-Person Meeting

WR 121 004 COLLEGE WRITING

Instructor: Brittany Shike
Instructional Method: In-Person Meeting

WR 212 001 INTRO FICTION WRITING

Instructor: Josef Ginsberg
Instructional Method: In-Person Meeting

WR 212 002 INTRO FICTION WRITING

Instructor: Rubén Gil Herrera
Instructional Method: In-Person Meeting

Introduces the beginning fiction writer to basic techniques of developing character, point of view, plot, and story idea in fiction. Includes discussion of student work. May be repeated for a total of 8 credits. Expected preparation: Freshman Inquiry.

WR 213 001 INTRO POETRY WRITING

Instructor: Karolinn Fiscaletti
Instructional Method: In-Person Meeting

WR 213 002 INTRO POETRY WRITING

Instructor: Jason Stieber
Instructional Method: In-Person Meeting

WR 214 001 INTRO NONFICTION WRITING

Instructor: Paul Collins
Instructional Method: In-Person Meeting

An introduction to writing literary nonfiction, including essays, oral history, and field reportage. Beginning with the raw material of exercises in object description, setting, and dialogue, students will write and discuss short works of creative nonfiction. This course may be applied to the Minor in English, the Minor in Writing, or to the Required Writing Course requirement of the BFA in Creative Writing. It also serves as a prerequisite for WR 456, 457, 458, and 459.

Texts:

Bechdel, Alison. Fun Home (ISBN 978-0618871711)
Bruder, Jessica. Nomadland (978-0393356311)
Didion, Joan. Slouching Toward Bethlehem (978-0374531386)
Petty, Audrey. High Rise Stories (978-1938073373)
Sedaris, David. Dress Your Family in Corduroy and Denim (978-0316010795)

WR 222 001 WRITING RESEARCH PAPERS

Instructor: Mackenzie Streissguth
Instructional Method: In-Person Meeting

How do you write a research paper without waiting until the last minute?

This course offers a process and progress approach to writing research papers: selecting topics, evaluating sources, and analyzing media. We will look at applying and expanding your research skills in new contexts, as well as pushing boundaries of what is "appropriate" for academic writing. We will explore the conversation around how audience, bias, and argument shape writing. We will develop transferable practical strategies for research and writing across fields of study, though this course focuses on science fiction and fantasy media as a common ground -- student interests may drive our research agendas, however. Course grading is based on practice and collaboration, not focused on a letter grade on one final writing assignment.

WR 222 002 WRITING RESEARCH PAPERS

Instructor: Elizabeth Miossec-Backer
Instructional Method: Online

WR 227 001 INTRO TECHNICAL WRTG

Instructor: Mary Sylwester
Instructional Method: Online

WR 227 002 INTRO TECHNICAL WRTG

Instructor: Anna Diehl
Instructional Method: In-Person Meeting

WR 227 003 INTRO TECHNICAL WRTG

Instructor: Elle Wilder Tack
Instructional Method: Online

WR 301 001 WIC: CRITICAL WRTING ENGLISH

Instructor: Professor Elisabeth Ceppi
Instructional Method: Online

This course is designed to develop advanced skills for writing clear, compelling, and sophisticated interpretations of literary texts. We will focus on strategies, conventions, and techniques for conducting research within the text (gathering evidence through the method of “close reading”) and outside the text, using a variety of secondary sources to develop ideas and insights and to explain why those ideas matter. During the term, students will learn and practice a variety of methods for becoming more astute readers and critics of literature and scholarly writing. They will also learn to become better readers and critics of their own scholarly writing through the process of drafting, peer review, and revision.

Course Objectives:

The course will improve students’ ability to:

Use close reading skills to develop interpretations of literary texts and to communicate those interpretations clearly and persuasively in their scholarly writing.
Locate and cite works of scholarship and engage with them effectively to frame complex arguments about texts.
Grasp the importance of drafting and revision to intellectual growth and successful college writing.

Required Book:

Toni Morrison, A Mercy (Vintage)

WR 301 002 WIC: CRITICAL WRTING ENGLISH

Instructor: Hildy Miller
Instructional Method: Remote - Scheduled Meetings

As English majors, you're probably already familiar with much of what we do in our courses. This class is designed to stretch that knowledge further and prepare you to succeed in upper division work. We'll consider strategies for writing and conducting secondary research. And we'll practice reading and interpreting texts through the lenses of varied critical theories. Includes formal and informal writing, responding to a variety of readings, sharing writing with other students, and reflecting on writing. Our class will run as a workshop in which you’ll be collaborating with other students throughout phases of both your and their writing processes. If all goes as promised, you should emerge from the course with a renewed sense of how to produce knowledge in English Studies.

Texts are all available electronically.

WR 312 001 INTERMED FICTION WR

Instructor: Gabriel Urza
Instructional Method: In-Person Meeting

This class is designed around the creation and development of a themed anthology of short fiction. We’ll begin by discussing and selecting a theme for our class anthology. We’ll create a call for submissions and select sample published works, and then we will write a new short story around this theme to submit to our workshop.

After we have completed our drafts (due at the end of Week 3), we will be discussing your stories in a modified workshop setting (Weeks 4-9). Every week, we will consider three manuscripts, for which we will also provide written critique letters. We will also be reading and discussing several short stories and/or craft essays.

Our last week will be focused on revision, with an eye towards honing our anthology of stories. We’ll work together to create an introduction to the anthology, to select cover art and graphics, and to create contributors notes. It’s my hope that we’ll leave the quarter with a completed document of your work that commemorates—even if indirectly—this strange yet creative time we’re all living through.

WR 312 002 INTERMED FICTION WR

Instructor: Ari Rosales
Instructional Method: In-Person Meeting

WR 313 001 INTERMEDIATE POETRY WRITING

Instructor: John Beer
Instructional Method: In-Person Meeting

WR 323 001 WRITING AS CRITICAL INQUIRY

Instructor: Keri Behre
Instructional Method: Online

In this course, we will practice critical inquiry in personal, academic, and professional writing. This is a process-oriented class, which means we will be studying and practicing writing techniques to develop insight into how we function best as writers. We will develop skills in critical reading, thinking and writing. Students will be given reign to choose their own topics within the assignment structures, so our work can encompass personal writing goals. There is no required textbook; all readings will be provided. Required course work will constitute multiple drafts of three essays, peer-review workshops, weekly low-stakes writing assignments, participation in class discussions, and a final self-reflective essay.

WR 323 002 WRITING AS CRITICAL INQUIRY

Instructor: Keri Behre
Instructional Method: Online

WR 323 003 WRITING AS CRITICAL INQUIRY

Instructor: Susan Reese
Instructional Method: In-Person Meeting

WR 323 004 WRITING AS CRITICAL INQUIRY

Instructor: Kirsten Rian
Instructional Method: Online

WR 323 005 WRITING AS CRITICAL INQUIRY

Instructor: Caroline Hayes
Instructional Method: Online

WR 323 006 WRITING AS CRITICAL INQUIRY

Instructor: Travis Willmore
Instructional Method: In-Person Meeting

WR 323 007 WRITING AS CRITICAL INQUIRY

Instructor: Amy Harper
Instructional Method: In-Person Meeting

WR 323 008 WRITING AS CRITICAL INQUIRY

Instructor: Karyn-Lynn Fisette
Instructional Method: In-Person Meeting

WR 323 009 WRITING AS CRITICAL INQUIRY

Instructor: Jarrod Dunham
Instructional Method: In-Person Meeting

WR 327 001 TECHNICAL REPORT WRITING

Instructor: Tracy Dillon
Instructional Method: Online

WR 327 002 TECHNICAL REPORT WRITING

Instructor: Julie Kares
Instructional Method: Online

WR 327 003 TECHNICAL REPORT WRITING

Instructor: Jacob Tootalian
Instructional Method: In-Person Meeting

WR 398 001 TOP: WRITING COMICS

Instructor: Brian Bendis; Taki Soma
Instructional Method: Remote - Scheduled Meetings

WR 399 001 SPST: INTERMED NONFICTION WRTN

Instructor: Justin Hocking
Instructional Method: In-Person Meeting

What happens when we embrace the essay as a vibrant art form, rather than a site for simply conveying information or winning arguments? How might we twine writing about our personal lives—our sorrows and our joys—with news from the wider world? What new forms are emerging from literary nonfiction writers who combine visual art with text? This intermediate course will explore these and other questions, while deepening your practice of writing in the wonderfully dynamic genre of creative nonfiction. Via close reading, generative exercises, and discussions, students will enhance their understanding of and ability to write across various forms of nonfiction, including but not limited to flash nonfiction, personal essays, memoir, graphic narrative/comics, literary journalism and lyric essays. Students will also strengthen their ability to give and receive constructive feedback via small- and larger-group workshops. The tentative reading list includes The Book of Delights by Ross Gay and Oak Flat: A Fight for Sacred Land in the American West by Lauren Redniss, as well as work by Gwendolyn Wallace, Maggie Nelson, and Bassey Ikpi.

WR 410 004 TOP: ADVANCED BOOK DESIGN

Instructor: Olivia M. Hammerman
Instructional Method: In-Person Meeting

Advanced InDesign is a class that will explore the intermediate to advanced functionality of Adobe InDesign in the context of print and digital book design. By the end of this course students will be able to use Adobe InDesign at an intermediate level, with basic understanding of some advanced functionalities; design and layout professional-quality book pages in a variety of genres and content areas; and accurately translate digital files to print processes. The course will also include a solid introduction to Adobe Photoshop and explore the basic tools for creating and altering cover art.

WR 410 006 TOP: EBOOK PRODUCTION

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

Ebook Production teaches the hands-on skills of digital publishing. The course will build on an established understanding of basic text-based languages like HTML, CSS, and XML. Students will be introduced to new tools like iBooks Author, oXygen, and Sigil. It is highly recommended (though not required) that you first take WR 4/510: Digital Skills before taking this course or have intermediate coding knowledge.

WR 410 007 TOP: COMICS EDITING

Instructor: Diana Schutz
Instructional Method: In-Person Meeting

There is perhaps no line of work so widely misunderstood as that of professional comics editors, who have been alternately vilified, glorified, or just plain ignored. Twenty years ago, comics superstar Frank Miller characterized the editor as “a liaison and muse...a proofreader and critic,” ultimately concluding that “a good editor is irreplaceable.” But what does it mean to be a good comics editor?

This course will demystify the role of the comics editor, who, unlike the editor of prose, typically directs an entire team of authors, including freelance writers, pencilers, inkers, colorists, and letterers, while simultaneously juggling an in-house staff of accountants, designers, and marketers to bring each project to fruition. Negotiating aesthetic and commercial interests through periodical publication schedules is a delicate balancing act, and this course will examine every aspect of the comics editor’s process, all the way from initial budgeting to printer delivery of this unique visual creation.

WR 412 001 ADV FICTION WRITING

Instructor: Leni Zumas
Instructional Method: In-Person Meeting

By honing their powers of observation and insight, members of this workshop will test Marcel Proust’s claim that “the voyage of discovery is not in seeking new landscapes but in having new eyes.” A range of exercises, readings, and conversations will push each writer to investigate fresh possibilities in their fiction. Discussion of student manuscripts will be central to the course; we may also examine published stories and novel excerpts as models and inspiration.

WR 412 002 ADV FICTION WRITING

Instructor: Leni Zumas
Instructional Method: Remote - Scheduled Meetings

WR 413 001 ADVANCED POETRY WRITING

Instructor: Allison Cobb
Instructional Method: Hybrid

The poet’s memoir. In this class we’ll explore memoirs written by poets in poetry, prose, and hybrid forms. We’ll identify their strategies, approaches, and techniques, define how they work as memoir, or anti-memoir, and, through exercises, apply their techniques to our own writing. We will use examples and exercises from a number of different poets. Potential texts include: Ross Gay, Book of Delights; Claudia Rankine, Citizen; Alice Notley, Mysteries of Small Houses; Dao Strom, Instrument.

WR 420 001 WRITING STUDIO

Instructor: Janice Lee
Instructional Method: In-Person Meeting

This course will operate as a writing laboratory—a space for exploration, experimentation and discovery. The focus will be on generating new creative writing (via weekly writing prompts, exercises, and meditations) and cultivating space for a regular writing practice. We will also read and respond to published fiction, poetry, and essays that may inform your relationship to your work and support your creative growth.

WR 427 001 TECHNICAL EDITING

Instructor: Victoria Raible
Instructional Method: Remote - Scheduled Meetings

This course challenges students to look at written and visual communication holistically, understanding the editing process as the intermediary between the writer and the reader—and importantly, leveraging the editor's comprehension of each perspective to make information concise and accessible. Although we will review common copyediting considerations, this course is focused on elevating these foundational skills to technical professional applications. Students will learn about professional editing practices, various audiences needs, and industry standard and organizational style guides. Navigating the nuances of the technical editor’s role in document development, we will discuss how to prioritize, edit effectively across “levels of edit,” and communicate the “why” behind our edits.

Who will be successful in this class? Self-driven students who are interested in considering this topic analytically, rather than prescriptively, and discovering how to apply these skills to a range of professional roles. Class sessions will be focused on collaborative activities and discussions, and assignments are geared toward building out a professional portfolio.

WR 431 001 ADV TOP TECH WRITING TECHNLOGY

Instructor: Bryan Schnabel
Instructional Method: Remote - Scheduled Meetings

Topics in Technical Writing Technologies: XML & DITA:

Note: No prerequisite programming skills are required for this class. In Technical Communications, Information Technology, Content Management Systems, and Technical Publication, XML is the de facto underlying structure. A technical communicator wishing to enter the field will do well to understand mainstream XML formats like DITA, Docbook, HTML, SVG, and XLIFF. Among these XML formats DITA distinguishes itself as a structure that enables information to be created, managed, compiled, single-sourced, reused and published to enable all aspects of professional industry throughput. Having experience with XML and DITA on a technical writing resume communicates your openness to learning new technologies in general and also your understanding of how technologies are an important part of technical writing.

WR 433 001 RESEARCH METHODS FOR TECH WRIT

Instructor: Dr. Sarah Read
Instructional Method: Attend Anywhere

This course will introduce students to the research methods commonly practiced by professional technical writers. These methods may include interviewing subject-matter experts, researching genre conventions, user research, content analysis of existing websites and usability testing. Students will practice methods via client-projects with local community partners. Students can expect to develop at least one portfolio piece during this course. This course is a core course in the MPTW curriculum.

WR 459 001 MEMOIR WRITING

Instructor: Paul Collins
Instructional Method: In-Person Meeting

Delving into the most vibrant and contentious area of creative nonfiction, Memoir Writing is a workshop focused on the development and revision of new work, as well as exploring major authors and issues in modern memoir.

Texts:

Dust to Dust – Benjamin Busch (978-0062014856)
Autobiography of a Face – Lucy Grealy (978-0544837393)
The Magical Language of Others – E.J. Koh (978-1951142278)
The Art of Memoir – Mary Karr
Truth and Beauty – Ann Patchett (978-0060572150)

WR 461 001 BOOK EDITING

Instructor: Katie Van Heest
Instructional Method: In-Person Meeting

Provides a comprehensive course in professional book editing, including editorial management, acquisitions editing, substantive/developmental editing, and copyediting.

WR 462 001 BOOK DESIGN SOFTWARE

Instructor: Jessica Reed
Instructional Method: In-Person Meeting

Provides a strong foundation in design software used in the book publishing industry, focusing on Adobe InDesign. Also explores Adobe Photoshop, Illustrator, and Acrobat, as well as XHTML and e-book design. The class considers audience expectations through a range of hands-on design projects.

WR 463 001 BOOK MARKETING

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

The objective of this course is to understand the role of marketing and publicity in book publishing, both traditional and self-publishing, and to obtain the necessary skills to position a title, create sales materials, and develop a marketing and publicity plan. Your goal is to end the course able to demonstrate skills in target audience analysis, copywriting, metadata management, author platform building, media and reviewer outreach, budgeting and scheduling, email and social media marketing, and metrics and analytics that are directly applicable to a career in book publishing.

WR 464 001 BUSINESS OF BOOK PUBLISHING

Instructor: Kent Watson
Instructional Method: In-Person Meeting

Comprehensive course in the business of book publishing. Topics covered include publications management, accounting, book production, distribution, and bookselling. Students learn how a variety of agents, including publishers, publishing services companies, distributors, wholesalers, bookstores, etc., are organized and function in the marketplace.

WR 466 001 DIGITAL SKILLS

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

This course is a hands-on lab and a discussion seminar about writing in computational environments. Students code webpages in HTML and CSS, then use domain management software to upload these pages to the web. Students modify website templates such as Wordpress and Squarespace, and can craft final projects of their choice in consultation with the instructor. Programming fundamentals are explored by modifying a JavaScript program that outputs a poem, which prompts discussion about the culture of copying and remix. Computational literacy is a systems approach to creative thinking. We critically analyze writing productivity software, multimodal “database” essays, and best practices of website design for desktop and mobile. We read texts about the history of writing software and coding as a cultural literacy.

This course is not focused on ebook publishing. It is recommended to take this course before taking WR 410/510 Ebook Production. Students with programming background should not take this course unless they wish to work on a specific project of their choice, and engage in humanities discourse about writing in computational environments.

WR 472 001 COPYEDITING

Instructor: Des Hewson
Instructional Method: In-Person Meeting

Learn how to improve the clarity, coherency, consistency, and correctness of other people’s writing through application of grammatical and stylistic guidelines. Study grammar, usage, punctuation, and style. Narrow focus on editing at the line and substantive level, with little to no attention given to broad development of a manuscript. Prerequisite: WR 4/561: Book Editing.

WR 474 001 PUBLISHING STUDIO

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

Publishing Studio & Lab are the courses for hands-on learning at Ooligan Press. Designed to give students the freedom and responsibility of running a real-world trade publishing house, students are assigned to projects where they will work on a variety of publishing tasks. Project teams will work collaboratively to assess, plan, and execute editorial, design, digital content, marketing, and sales tasks throughout the term.

Publishing Studio: Graduate students in Publishing Studio should expect assignments to take approximately 12 hours per week; undergraduate students in Publishing Studio should expect 9 hours per week.

Publishing Lab: Graduate students in Publishing Lab should expect assignments to take approximately 4 hours per week; undergraduate students in Publishing Lab should expect 3 hours per week.

By the end of this course, students will be able to:

explain and understand the book production cycle;
competently use industry-standard terminology;
analyze disruptions to their project as they arise and actively problem-solve to address issues;
track, maintain, and update project management software, in the form of Trello;
communicate efficiently through email and face-to-face meetings;
complete assigned tasks efficiently as an individual and within a group; and
perform various tasks at a professional level, as assigned by a team manager.

WR 475 001 PUBLISHING LAB

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

explain and understand the book production cycle;
competently use industry-standard terminology;
analyze disruptions to their project as they arise and actively problem-solve to address issues;
track, maintain, and update project management software, in the form of Trello;
communicate efficiently through email and face-to-face meetings;
complete assigned tasks efficiently as an individual and within a group; and
perform various tasks at a professional level, as assigned by a team manager.

WR 476 001 PUBLISHING FOR YOUNG ADULTS

Instructor: Abby Ranger
Instructional Method: Hybrid

An exploration of the current publishing landscape of young adult fiction, with attention to the dynamic challenges, responsibilities, and opportunities inherent in publishing books for young readers (age 12+). Coursework will include reading eight young adult novels, researching the publishing stories and strategies behind them, and discussing our findings and opinions. Additionally, students will write a case study paper on another YA title of their choice.

Spring 2022: Graduate Writing Courses

WR 507 001 SEM: MFA FICTION

Instructor: Janice Lee
Instructional Method: In-Person Meeting

MFA Fiction Seminar: The Apocalypse:

The apocalypse, though often seen as a large and final event, becomes an anticipatory state. How might the apocalypse as revelation also be related to time as a vantage point from which we observe, and how might anticipation highlight human tragedy and hope? That we go on, is the heroic gesture, is the invitation to stay within the troubling tensions that animate all of life. The apocalypse is about failure and devastation, but also about relief and desire. It is about the modification of reality, the ability to see the world from a pair of eyes not just one’s own. It is about disintegration and ruin, yes, but also about empathy and the relationships between human beings. It is about the acceptance of uncertainty over clarity and an abandonment into the beauty of reality, and is not just a gesture of finality and redemption, but about plateaus, middles, and gateways. Students will explore various ideas on the apocalypse as a concept and as a landscape through various works of fiction, nonfiction, poetry, and film, including texts by Cormac McCarthy, László Krasznahorkai, Etel Adnan, Anna Tsing, Mariko Nagai, Thirii Myo Kyaw Myint, Maurice Blanchot, Alexis Pauline Gumbs, and Bayo Akomolafe, and films by Béla Tarr, Andrei Tarkovsky, and Werner Herzog. Class components will include weekly reading responses and discussion, short writing prompts, and a final creative project.

Required Texts:

The Road by Cormac McCarthy
Aerial Concave Without Cloud by Sueyeun Juliette Lee
The End of Peril, the End of Enmity, the End of Strife, a Haven by Thirii Myo Kyaw Myint
M Archive: After the End of the World by Alexis Pauline Gumbs 
Baron Wenckheim's Homecoming by László Krasznahorkai

WR 507 002 SEM: MEMOIR WRITING

Instructor: Paul Collins
Instructional Method: In-Person Meeting

Memoir Writing is a workshop focused on the development and revision of new work, as well as exploring authors and issues in memoir. This course is open to graduate students across the English department; prior writing workshop experience is helpful, but not required.

Texts:

Autobiography of a Face – Lucy Grealy (978-0544837393)
The Magical Language of Others – E.J. Koh (978-1951142278)
The Making of a Story – Alice LaPlante (978-0393337082)
Truth and Beauty – Ann Patchett (978-0060572150)
The Books of Eels – Patrik Svensson (978-0062968821)

WR 507 003 SEM: BK PUBLISHING FOR WRTRS

Instructor: Justin Hocking
Instructional Method: In-Person Meeting

This course will empower students of any genre/discipline to navigate both within and beyond the conventional commercial pathways for propelling your creative work into the world. Via research and guest visits from small-press publishers and a New York-based literary agent, you will gain deeper understanding of the ever-shifting publishing landscape—as well as best practices for engaged literary citizenship and movement-building. Based on this knowledge, by quarter’s end you will conceptualize, plan, and launch your own modestly scaled press and publication(s). We will practice basic zine-making and saddle-stitch binding (commonly used to bind chapbooks) and other hands-on skills, along with training in publication design via Adobe Creative Suite. By writing queries and outlining a basic book proposal, you will also learn to effectively approach literary agents and large, mid-sized, and micro-presses, as well as various online venues. In addition we will explore an array of nontraditional publishing options, audience-building resources such as Patreon, and grant opportunities to fund your writing/publishing projects.

Reading List:

Stolen Sharpie Revolution: A DIY Resource for Zine and Zine Culture by Alex Wrekk
A People’s Guide to Publishing: How to Build A Successful, Sustainable, Meaningful Book Business from the Ground Up by Joe Biel

WR 510 001 TOP: PORTLAND REVIEW MARKETING

Instructor: Michael Seidlinger
Instructional Method: Online

WR 510 002 TOP: 1ST YR PORTFOLIO WKSP

Instructor: Dr. Sarah Read
Instructional Method: Online

WR 510 003 TOP: 2ND YR PORTFOLIO WKSP

Instructor: Dr. Sarah Read
Instructional Method: Online

WR 510 004 TOP: ADVANCED BOOK DESIGN

Instructor: Olivia M. Hammerman
Instructional Method: In-Person Meeting

WR 510 006 TOP: EBOOK PRODUCTION

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

WR 510 007 TOP: COMICS EDITING

Instructor: Diana Schutz
Instructional Method: In-Person Meeting

WR 520 001 WRITING STUDIO

Instructor: Janice Lee
Instructional Method: In-Person Meeting

WR 521 001 MFA CORE WORKSHOP FICTION

Instructor: Gabriel Urza
Instructional Method: In-Person Meeting

This class will primarily be dedicated to the writing and improvement of two original works of fiction (either a completed short story, sections of a novel, or novella). If you are submitting an excerpt from a longer work, I ask that you write a letter to the class that explains your vision of the project and where this piece fits into that vision. We will consider and discuss these manuscripts in the workshop format, as well as in written critiques. In addition, we will read and discuss as series of craft essays and published short stories. Finally, we’ll use a series of revision exercises intended to spur new ideas in further drafts.

WR 522 001 MFA CORE WORKSHOP POETRY

Instructor: Alicia Rabins
Instructional Method: In-Person Meeting

In this studio class, we will explore our own and each others' poetic projects through sharing work, thoughtfully commenting on others' work, and creating a community of practice which allows for each writer's distinct voice to deepen. Each writer will seek balance of poetic risk-taking and fine-tuning; craft and wildness; participants will gradually accumulate both a body of work and an analytical toolkit.

Texts:

Worldly Things - Michael Kleber-Diggs
Refusenik - Lynn Melnick
Constellation Route - Matthew Olzmann

WR 527 001 TECHNICAL EDITING

Instructor: Victoria Raible
Instructional Method: Remote - Scheduled Meetings

WR 531 001 ADV TOP TECH WRITING TECHNLOGY

Instructor: Bryan Schnabel
Instructional Method: Remote - Scheduled Meetings

Topics in Technical Writing Technologies: XML & DITA:

WR 533 001 RESEARCH METHODS FOR TECH WRIT

Instructor: Dr. Sarah Read
Instructional Method: Attend Anywhere

WR 561 001 BOOK EDITING

Instructor: Katie Van Heest
Instructional Method: In-Person Meeting

Provides a comprehensive course in professional book editing, including editorial management, acquisitions editing, substantive/developmental editing, and copyediting.

WR 562 001 BOOK DESIGN SOFTWARE

Instructor: Jessica Reed
Instructional Method: In-Person Meeting

WR 563 001 BOOK MARKETING

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

WR 564 001 BUSINESS OF BOOK PUBLISHING

Instructor: Kent Watson
Instructional Method: In-Person Meeting

WR 566 001 DIGITAL SKILLS

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

WR 572 001 COPYEDITING

Instructor: Des Hewson
Instructional Method: In-Person Meeting

WR 574 001 PUBLISHING STUDIO

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

explain and understand the book production cycle;
competently use industry-standard terminology;
analyze disruptions to their project as they arise and actively problem-solve to address issues;
track, maintain, and update project management software, in the form of Trello;
communicate efficiently through email and face-to-face meetings;
complete assigned tasks efficiently as an individual and within a group; and
perform various tasks at a professional level, as assigned by a team manager.

WR 575 001 PUBLISHING LAB

Instructor: Robyn Crummer-Olson
Instructional Method: In-Person Meeting

explain and understand the book production cycle;
competently use industry-standard terminology;
analyze disruptions to their project as they arise and actively problem-solve to address issues;
track, maintain, and update project management software, in the form of Trello;
communicate efficiently through email and face-to-face meetings;
complete assigned tasks efficiently as an individual and within a group; and
perform various tasks at a professional level, as assigned by a team manager.

WR 576 001 PUBLISHING FOR YOUNG ADULTS

Instructor: Abby Ranger
Instructional Method: Hybrid

Spring 2022 Courses

On This Page

Spring 2022: Undergraduate English Courses

ENG 205 001 SURVEY OF BRITISH LIT II

ENG 254 001 SURVEY OF AMERICAN LIT II

ENG 300 001 LIT FORM AND ANALYSIS

ENG 300 002 LITERARY FORM AND ANALYSIS

ENG 301U 001 TOP: SHAKESPEAREAN GENRE

ENG 304 001 CRITICAL THEORY OF CINEMA

ENG 305U 001 TOP: CLASSICS OF GOTHIC FILM

ENG 305U 002 TOP: INDIGENOUS CINEMA

ENG 306U 001 TOP: FANTASY LITERATURE

ENG 306U 002 TOP: PHILIP K DICK

ENG 310U 001 TOP: CHILD/YOUNG ADULT LIT

ENG 315 001 POETRY AND FORM

ENG 320U 001 THE ENGLISH NOVEL I

ENG 327 001 CULTURE, IMPERIALISM, GLOBAL

ENG 333U 001 HST CINEMA/NARRATIVE MEDIA II

ENG 335U 001 TOP: SERIAL FICTION

ENG 335U 002 TOP: ADAPTING LIT TO FILM

ENG 345U 001 MODERN BRITISH LIT

ENG 369U 001 ASIAN AMERICAN LITERATURE

ENG 372U 001 TOP: LIT, GENDER, & SEXUALITY

ENG 372U 002 TOP: LESBIAN AND WOMXN IDENTIT

ENG 399 001 SPST: LGBTQ+ COMICS

ENG 411 001 ENGLISH DRAMA

ENG 413 001 TEACHING & TUTORING WR

ENG 428 001 CANONS AND CANONICITY

ENG 441 001 ADV TOP: RENAISSANCE LIT

ENG 464 001 ADV TOP: RACE AND MODERNISM

NAS 410 Queer Indigenous Theory

Spring 2022: Graduate English Courses

ENG 507 001 SEM: LYRIC AND ANTI-LYRIC

ENG 507 002 SEM: PSYCHOANALYTIC CRITICISM

ENG 507 003 SEM: RENAISSANCE METAMORPHOSES

ENG 507 004 ENGLISH DRAMA

ENG 518 001 COLLEGE COMP TEACHING

ENG 519 001 ADV COLLEGE COMP TEACHING

ENG 531 001 TOP: COLLOQUIUM

NAS 510 Queer Indigenous Theory

Spring 2022: Undergraduate Writing Courses

WR 115 001 INTRO TO COLLEGE WRITING

WR 121 001 COLLEGE WRITING

WR 121 002 COLLEGE WRITING

WR 121 004 COLLEGE WRITING

WR 212 001 INTRO FICTION WRITING

WR 212 002 INTRO FICTION WRITING

WR 213 001 INTRO POETRY WRITING

WR 213 002 INTRO POETRY WRITING

WR 214 001 INTRO NONFICTION WRITING

WR 222 001 WRITING RESEARCH PAPERS

WR 222 002 WRITING RESEARCH PAPERS

WR 227 001 INTRO TECHNICAL WRTG

WR 227 002 INTRO TECHNICAL WRTG

WR 227 003 INTRO TECHNICAL WRTG

WR 301 001 WIC: CRITICAL WRTING ENGLISH

WR 301 002 WIC: CRITICAL WRTING ENGLISH

WR 312 001 INTERMED FICTION WR

WR 312 002 INTERMED FICTION WR

WR 313 001 INTERMEDIATE POETRY WRITING

WR 323 001 WRITING AS CRITICAL INQUIRY

WR 323 002 WRITING AS CRITICAL INQUIRY

WR 323 003 WRITING AS CRITICAL INQUIRY

WR 323 004 WRITING AS CRITICAL INQUIRY

WR 323 005 WRITING AS CRITICAL INQUIRY

WR 323 006 WRITING AS CRITICAL INQUIRY

WR 323 007 WRITING AS CRITICAL INQUIRY

WR 323 008 WRITING AS CRITICAL INQUIRY

WR 323 009 WRITING AS CRITICAL INQUIRY

WR 327 001 TECHNICAL REPORT WRITING

WR 327 002 TECHNICAL REPORT WRITING

WR 327 003 TECHNICAL REPORT WRITING

WR 398 001 TOP: WRITING COMICS

WR 399 001 SPST: INTERMED NONFICTION WRTN

WR 410 004 TOP: ADVANCED BOOK DESIGN

WR 410 006 TOP: EBOOK PRODUCTION

WR 410 007 TOP: COMICS EDITING

WR 412 001 ADV FICTION WRITING

WR 412 002 ADV FICTION WRITING

WR 413 001 ADVANCED POETRY WRITING