Spring 2023 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 2023: Undergraduate English Courses

ENG 204 001 SURVEY OF BRITISH LIT I

Instructor: Karen A. Grossweiner
Instructional Method: In-Person Meeting

This course will cover material from the Anglo-Saxon period through the 17th century. We will begin with the epic masterpiece Beowulf, read the Wife of Bath’s Prologue and Tale from Geoffrey Chaucer’s The Canterbury Tales, then proceed to the great Middle English Arthurian romance Sir Gawain and the Green Knight. We will also take a look at the recent film adaptation The Green Knight.

While much of our focus will be on close reading, we will also discuss more general issues specific to reading medieval texts. Medieval poetry is often both conventional and sophisticated rhetorically; hence, we will explore the processes of composition and adaptation, and how composing rhetorically transforms ideas about originality. Moreover, we will look at such issues as transmission and dissemination in a manuscript culture, how genre operates in the Middle Ages, and what extensive scribal interventions and interpolations suggest about the sacrosanct concept of authorial privilege. Finally, we will explore the different (often problematic) ways gender was represented in the Middle Ages.

As we proceed to the Early Modern period, we will consider many of these same issues in the context of different ideologies including rapidly changing religious values and political upheaval. Texts will include selections from Book One of Edmund Spenser’s The Fairie Queene, a wide variety of sixteenth and seventeenth poetry, and selections from John Milton’s great epic Paradise Lost. We will explore such issues as power and authority, language and identity, and gender and desire, and will consider both how these texts are the product of Early Modern English culture and remain relevant for a 21st century audience.

ENG 254 001 SURVEY OF AMERICAN LIT II

Instructor: Elizabeth Duquette
Instructional Method: Online - No Scheduled Meetings

ENG 300 001 LIT FORM AND ANALYSIS

Instructor: Michael Clark
Instructional Method: Online - No Scheduled Meetings

ENG 300 002 LIT FORM AND ANALYSIS

Instructor: Sara Atwood
Instructional Method: In-Person Meeting

A required course for PSU English majors, ENG 300 focuses on skills of literary analysis. Students in this class will learn methods of interpreting the complex relationships between form and content: what a text has to say, and how the text is put together. In studying texts of varying genres (poetry, drama, fiction, and film) and through both formal and informal writing exercises, students will gain confidence and ability in asking hard questions of a literary text, exploring its formal and thematic intricacies, and using writing as a tool for developing complex interpretations supported with evidence. We will consider the craft of writing, paying close attention to meaning, language, style, and structure. The idea is not to analyze the life out of the works we read, but to appreciate them more fully by understanding how they work.

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 romances, once termed “tragicomedies” for their unique and whimsical plot structure. We will pay attention to the complex and nuanced romance genre, the ways Shakespeare’s romances are situated within the trajectory of his career, how the plays responded to historical contexts, and how they might be relevant and meaningful in our current cultural moment. Our text will be The Norton Shakespeare: Romances and Poems, 3rd Edition as well as some film versions of the plays we’ll study. Coursework will include recorded/captioned lectures, supporting materials, and reading responses for the Canvas portion; as well as in-person class discussions, contextual background, multiple drafts of a critical essay, and an experiential final project. 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: Matthew Ellis
Instructional Method: Online - No Scheduled Meetings

What is cinema? What is the relationship between film, photography, and a “real” world captured on camera? How do films “mean” what they do? How do they construct or affect a spectator? Who or what is a film spectator, and how do they interface with questions of race, gender, sexuality, nationality, empire, and the economy? What distinguishes cinema from other media, especially digital media, which have in recent decades been replacing the analog components of filmmaking first established in the late nineteenth century? Can watching a movie on your phone be considered the same activity as visiting a cinema? Questions such as these have long been posed within a rich tradition of film and media theory by scholars, filmmakers, and activists. This course serves as an introduction to this field within a broader critical theory tradition, moving (for the most part) chronologically from the early twentieth century to our contemporary moment, using both readings and film screenings as our materials.

While “theory” can have a reputation for being dense and obtuse at times, we all have watched movies, and thought about them afterwards. This is ultimately the work we will be doing in this course, and no prior experience with film studies is expected, or required. By course’s end, you may never watch a movie the same way again—but you also may never want to!

ENG 305U 001 TOP: POST-CINEMA

Instructor: Matthew Ellis
Instructional Method: In-Person Meeting

In the past few decades, cinema scholars and artists have responded to increasing technological and economic changes in the film world with a number of assertions: The age of cinema has passed, replaced by “quality television,” video games, and internet streaming! Digital technology has surpassed the capabilities of analog filmmaking! Movies just don’t look like they used to! Something is clearly afoot.

This class will be an introduction to many of the debates sparked by such comments—an overview of the way historians, theorists, filmmakers, critics, and audiences have responded to the myriad changes in the cinema industry over the past 20 years. From considering theories of an emergent “post-cinematic” medium that suggest a fundamental rupture with the classical cinema of the 20th century, to investigating works that suggest a continuity between the earlier analog cinema contemporary digital culture, our class will seek to provide answers to a number of questions: What “was” this thing called cinema, and how might its so-called “end” mean for the future of moving images? Are you still watching a movie when you stream YouTube on your phone? What makes television different from “cinema,” if it is? Is TikTok "cinematic?" Where do we “watch” when we watch, and how do we think about our attention when we do?

ENG 305U 002 TOP IN FLM: SURVEILLANCE

Instructor: Dan DeWeese
Instructional Method: In-Person Meeting

Studying surveillance in film means risking redundancy: as filmed recordings of human beings, films are already surveillant constructions, and the pleasure we enjoy watching movies is already part of the pleasure humans enjoy when watching others. But if all films are an act of filmmaker and/or audience surveillance, then couldn’t a course on surveillance in film include any film? This course will address that question by exploring the overlap of two categories—films about surveillance and films as surveillant constructions—to study how cinema has depicted (and struggled with) surveillance and its role in society in the twentieth and twenty-first centuries. When images offer us the power of watching others watch each other, or depict surveillance in physical and/or narrative form, cinema speculates not only on surveillance as a personal and social issue, but on cinema’s own possibilities—and problems—as a medium.

ENG 306U 001 TOP: FANTASY LITERATURE

Instructor: Michael Weingrad
Instructional Method: Online - No Scheduled Meetings

ENG 306U 002 TOP: URSULA K. LE GUIN

Instructor: Tony Wolk
Instructional Method: In-Person Meeting

Reading and discussion of various novels and short stories of Ursula K. Le Guin. In addition to whole class discussions, there will be weekly small group discussions. Students will write in response to the novels and stories, either critically or imaginatively (e.g., providing alternate endings, extra characters, etc.). Students will also write their own short story, due at the end of the term.

The Readings:

The Left Hand of Darkness
The Dispossessed
The Lathe of Heaven
Various short stories
Various poems

Books will be available at the PSU Bookstore; other than The Lathe of Heaven (that you can order on your own).

ENG 307U 001 SCIENCE FICTION

Instructor: W. Tracy Dillon
Instructional Method: Online - No Scheduled Meetings

“At its core, science fiction dramatizes the adventures and perils of change.” –Evans et al., The Wesleyan Anthology of Science Fiction

Greetings, science fiction lovers. You are invited along on a voyage extraordinaire in this spring’s ENG 307U. We will align our discussions with the canonical take on sf offered by the editors of our primary text, The Wesleyan Anthology of Science Fiction. I’ve provided textbook information below in case you take this bait, sign up, and want to get started reading the rich array of some of the best of sf. And that’s a key point: reading. As are most anthologies, this one’s big. I want you to have plenty of time to read and enjoy these works, though we will have time to cover only a sample of them. In addition to these stories, you will have the opportunity to bring in your own examples of sf, either film/tv/other media productions or, heavens!, sf novels. For our immediate purposes, and to try to minimize costs, we’ll go with this well-regarded anthology of short stories covering the historical origins of sf to the present day—or what that day looked like in 2010, when the Wesleyan edition first appeared. Nevertheless, this scholarly tome is a great touchstone.

Using Wesleyan short stories as a jump off point, we’ll explore, among other things, the following standout ingredients of the sf megatext. Hold on…Here we go!

Characters (the mad scientist, the renegade robot, the savvy engineer, the mysterious alien, the powerful artificial intelligence), environments (the enclosures of a spaceship, an alien landscape, the inner space of subjective experience), events (nuclear and other apocalypses, galactic conflicts, alien encounters), ethical and political concerns (scientific responsibility, encounters with otherness, shifting definitions of what it means to be human), sf’s relationship with other genres (epic, fantasy, gothic horror, satire), and topics (alien encounters, apocalypse, dystopia, gender and sexuality, slipstream lit, time travel, virtual reality). Had enough? We can probably discover more along the journey.

Our journey happens all online. The course satisfies requirements for English major electives along with the University Studies Popular Culture Cluster.

Questions? Just ask the Professor: dillont@pdx.edu.

Information on the course text follows.

Evans et al., The Wesleyan Anthology of Science Fiction, Wesleyan University Press, 2010.

Starting at $20.12 for new/used editions on the Evil Empire Amazon’s website, and doubtless available online elsewhere as well.

I have ordered the text through the PSU Bookstore if that is more convenient.

ENG 310U 001 TOP: CHILD/YOUNG ADULT LIT

Instructor: Elizabeth C. Brown
Instructional Method: Online - Scheduled Meetings

History Lessons?: Representations of the Past in Contemporary Young Adult Fiction:

Young adult fiction continues to be a site of popular debate over how history gets told. This course will introduce you to critical frameworks for approaching representations of the past, particularly pasts of slavery, settler colonialism, and imperialism, in contemporary young adult fiction. How does young adult fiction treat historical processes and events? To what extent does it “teach” history to a young adult audience? (And what does it mean to approach literature this way?) How are representations of the past keyed to the present? Rather than limiting ourselves to works of realist historical fiction, we will investigate these questions in works across a variety of genres and forms, such as dystopian fiction and graphic novel, that center young adults. Some authors we might read include Cherie Dimaline, Jesmyn Ward, Malinda Lo, Kiku Hughes, Junot Diaz, Elizabeth Acavedo, Nnedi Okorafor, and/or Alexis Pauline Gumbs.

ENG 325U 001 POSTCOLONIAL LITERATURE

Instructor: Taylor Eggan
Instructional Method: In-Person Meeting

This course serves as an introduction to modern postcolonial literature and theory from Africa, India, the Caribbean, and the United States. The term “postcolonial” is tricky to define. Though initially used to describe nations emerging from the burden of European colonization, the term is more than just a historical marker. Fundamentally, postcolonialism is a political and intellectual project. This project manifests in an ongoing battle for freedom and self-determination that must be fought in every sphere of human life, from the individual psyche to interpersonal relationships to national civic life.

In this class, close readings of novels, short stories, essays, and films will help us think through some of the key questions involved in the project of decolonization. How do we define “traditional” and “modern” in a time of fluid identities? How are ideas of tradition gendered and why? What is the role of violence in the struggle for liberation? How do postcolonial writers explore the relationship between language and culture? How do they confront the challenges of self-representation? How do they experiment with form? These and other questions will occupy us as we discuss key works by writers like Chinua Achebe, Assia Djebar, Frantz Fanon, Jamaica Kincaid, Salman Rushdie, Leslie Marmon Silko, and others.

ENG 326 001 LIT COMM DIFF

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

“In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, comfortable.” –Susan Sontag, “Against Interpretation” (1964)

What is the relation between “literature” and the more general category of “art”? What makes literature different from other forms of writing? How should we view the relation between a literary work and the identity of its author? How does one describe what a work of art is “about,” and what makes us interpret it in one way rather than another?

We will address these questions through a careful study of five literary texts and a few key works of literary and art criticism. In an era in which we are increasingly compelled to talk and write about ourselves (e.g., our identities, our experience, our personal traumas), these novels will give us a chance to explore literature’s capacity to imagine the world through the eyes of others. In an era in which identity is generally assumed to be the key to understanding the self, these novels present an occasion for exploring what Zadie Smith calls “the mystery that lies at the heart of all selfhood.” And in a world possessed by what Susan Sontag referred to as the philistine habit of “reducing the work of art to its content,” perhaps our most important goal will be to expand our capacities as readers and thereby enlarge the possibilities of the works of art we encounter.

This course fulfills the “Culture, Difference, and Representation” component of the PSU English Major.

Required Books:

Herman Melville, Billy Budd, Bartleby, and Other Stories
Edith Wharton, The Age of Innocence
Nella Larsen, Passing
Patricia Highsmith, The Talented Mr. Ripley
Ottessa Moshfegh, Eileen

ENG 335U 001 TOP: ADAPTING LIT TO FILM

Instructor: Marcel Brousseau
Instructional Method: Online - No Scheduled Meetings

ENG 335U 002 TOP: CONSPIRACY THEORY

Instructor: Matthew Ellis
Instructional Method: Hybrid

From the mundane to the dangerous, conspiracy theories continue to exert an outsized influence on our culture. But what would it mean to think of the conspiracy theory less as a product of "fake news" or "media diets," and more as a narrative form that began to take shape in the latter decades of the twentieth century, carrying through to the present? In this course we will analyze a series of novels and films that take the conspiracy theory as their object, asking why and how the conspiracy emerges as a form for making sense of the world at certain historical moments. Attention will be paid to the difference (and congruities) between literary form and film language, as well as discrete periods of conspiracy in film and literature (post-Watergate New Hollywood thrillers, 1980s/90s alternate history novels, etc).

ENG 342U 001 EIGHTEENTH CENTURY LITERATURE

Instructor: Bill Knight
Instructional Method: Online - No Scheduled Meetings

Eighteenth-century British literature is a remarkable crucible for new combinations in genre, new ideas about subjectivity, morality, and politics, new representations of what it means to be *modern* and of how we might imagine a critical or interpretive stance occasioned by that modernity. The British eighteenth century was but a brief period; in it, however, the ideologies of capitalism, cosmopolitanism, and universalism were brewing. In the midst of these new “modern” ways of being, the role of writing and print blossomed or exploded, an unruly outpouring of a diverse multiplicity of efforts to make sense of and to define the shifting values and the broad transformations that were beginning to make themselves felt at every level of the social hierarchy.

This course will outline the ways in which—intimately related to these broader developments—aspects of the modern notion of the individual self emerged in 18th-century writing, with particular emphasis on developments in autonomy, responsibility, sympathy & empathy, psychology, sexuality, political rights, and the sublime. We’ll trace the features of selves across their expression in gendered and raced bodies, and we’ll work to articulate the values of selfhood within the wider context of literary history, politics, and social change across the period.

Works:

Aphra Behn. Oroonoko. ISBN: 978-0140439885
Daniel Defoe. Roxana. ISBN: 978-0199536740
William Earle. Obi: or, The History of Three-Fingered Jack. ISBN: 978-1551116693
Olaudah Equiano. The Interesting Narrative and Other Writings. ISBN: 978-0142437162
Jonathan Swift. Gulliver's Travels. ISBN: 978-0553212327
Unca Eliza Winkfield. The Female American. ISBN: 978-1554810963
Wordsworth and Coleridge. Lyrical Ballads. ISBN: 978-0140424621

ENG 367U 001 TOP: GHOSTS AND HAUNTINGS

Instructor: Michael Clark
Instructional Method: In-Person Meeting

ENG 372U 001 TOP: BODIES, POWER, AND PLACES

Instructor: Sally McWilliams
Instructional Method: In-Person Meeting

ENG 378U 001 AMERICAN POETRY II

Instructor: Joel Bettridge
Instructional Method: In-Person Meeting

This course will focus on twentieth-century American Poetry. We will begin with Modernist writers like Wallace Stevens, Sterling Brown, Marianne Moore, T.S. Eliot, and Gertrude Stein. We will then turn to the diverse group of poets who follow Modernism, from writers like Louis Zukofsky and Elizabeth Bishop, to the New American Poets (such as Allen Ginsberg and Frank O’Hara). Next, we will examine the various writers who take part in the narrative, free verse poetry that dominates American letters in the postwar period, and we will pay particular attention to the “confessional” and political writing of poets such as Robert Lowell and Adrienne Rich. We will take time as well to explore the poetry of the Black Arts movement and end by reading several of the poets now associated loosely with Language poetry, like Lyn Hejinian, Charles Bernstein, and Rae Armantrout, who celebrate textual disruption, difficulty and readers’ participation in the making of a poem’s meaning.

ENG 383U 001 TOP: EXPLORATION AND MEDIA

Instructor: Marcel Brousseau
Instructional Method: Hybrid

ENG 387U 001 WOMEN'S LITERATURE

Instructor: Susan Reese
Instructional Method: In-Person Meeting

We’ll be considering multiple and diverse contemporary texts written by women as I weave them into a conversation that started long ago with Marie of France, Jane Austen, Mary Wollstonecraft, Sojourner Truth, Mary Shelley, Zora Neale Hurston, and Virginia Woolf, among others. It’s exciting to see the groundwork these women set on our path being continued for present and future generations of women, marking a clear, if often difficult, way forward and upward. I will present information as frame and support and the rest will be accomplished in group discussion, sometimes small, most often all together, about the texts themselves.

Our texts are:

Postcolonial Love Poem by Natalie Diaz (Poetry)
Small Things Like These by Claire Keegan (Fiction)
Minor Feelings by Cathy Park Hong (Non-fiction Essays)
Memorial Drive by Natasha Tretheway (Memoir)
The Boy with a Bird in His Chest by Emme Lund (Fiction)

I will also bring in words by Louise Erdrich, Claudia Rankin, Ada Límon, Margaret Atwood, and others whose voices so clearly speak to us in this time. For too long, women’s voices, particularly voices of women of color or queer women, have been silenced, and many remain so. Together we will evaluate that progress, the expansion of women’s writing in terms of genre, style, subject matter, all of it. There’s still progress to be made in terms of women being able to claim equality of presence across the writing spectrum with males, but we’ll consider where there is a nearness of that, and in which places we have furthest yet to go.

This is going to be a lot of fun, so please join me!

ENG 399 001 SPST: NONFICTION COMICS

Instructor: MK Reed
Instructional Method: Hybrid

ENG 413 001 TEACHING & TUTORING WR

Instructor: Perrin Kerns
Instructional Method: Online - No Scheduled Meetings

This course introduces you to the theory and practice of teaching and tutoring writing in a variety of contexts, whether teaching your own writing course or tutoring in a writing center. We will explore the writing process (invention, feedback, revision, editing) and teaching strategies (responding to writing, working with ESL students, handling plagiarism, teaching critical reading, and developing a teaching philosophy). We will also look specifically at some practical skills and knowledge for tutoring and teaching -- best practices for tutorial sessions, what writing in the disciplines means, and how to create writing assignments and lesson plans. Normally, this class would include a required tutoring practicum; however, the pandemic put an end to some of those opportunities, so we will set up as many new practicums as possible, but we will also practice our skills in our class with each other and our own writing projects.

ENG 426 001 ADV TOP: QUEER MIDDLE AGES

Instructor: Jamie Friedman
Instructional Method: In-Person Meeting

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 Leni Zumas' recently-published novel, Red Clocks. 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 (Dover)
Harriet Jacobs, Incidents in the Life of a Slave Girl (Dover)
Leni Zumas, Red Clocks (Back Bay)

ENG 435 001 ADV TOP: FILM & MEDIA

Instructor: Brian Locke
Instructional Method: Online - Scheduled Meetings

ENG 460 001 ADV TOP: AM LIT TO 1800

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

Fictions of Early America:

This course examines historical and contemporary narratives that construct the early American past, focusing on stories of conquest, slavery, captivity, witchcraft, the Revolution, and the 1793 yellow fever epidemic in Philadelphia. We will read 16th-18th century nonfiction accounts that dramatized these events and experiences in their time, and which serve as source material for the scholarship and contemporary fiction and film that shapes what they mean in ours. We will take a comparative approach, examining different modes of narrating history and imagining past worlds practiced by literary critics, historians, fiction writers and filmmakers. This approach will allow us to explore questions about the premises, methods, forms, ethics and politics of representing the early American past and its relevance to understanding US culture today.

Required Books:

Álvar Núñez Cabeza de Vaca, Relación (Arte Público)
Laila Lalami, The Moor's Account
Toni Morrison, A Mercy
Laurie Halse Anderson, Fever 1793

Spring 2023: Graduate English Courses

ENG 507 001 SEM: POETRY AND POLITICS

Instructor: Tom Fisher
Instructional Method: In-Person Meeting

This course explores the relationship between poetry and politics. We will read primarily postwar and contemporary American poetry, but will look at earlier poems as well as key theoretical and critical texts to help us think the relationship between politics and aesthetics. Key texts, among others, will include: Allen Ginsberg's "Howl," Langston Hughes' Montage of a Dream Deferred, Claudia Rankine's Citizen, Brian Teare’s Doomstead Days, Nathaniel Mackey’s Splay Anthem, and Stephen Collis and Jordan Scott’s Decomp.

Student work will include a final essay and a class presentation.

ENG 507 003 SEM: STORIES AND MAPS

Instructor: Marcel Brousseau
Instructional Method: Hybrid

ENG 518 001 COLLEGE COMP TEACHING

Instructor: Kate Comer
Instructional Method: In-Person Meeting

ENG 519 001 ADV COLLEGE COMP TEACHING

Instructor: Kate Comer
Instructional Method: In-Person Meeting

ENG 531 001 TOP: COLLOQUIUM

Instructor: Elisabeth Ceppi
Instructional Method: In-Person Meeting

ENG 561 001 TOP: AMERICAN GOTHIC

Instructor: Elizabeth Duquette
Instructional Method: In-Person Meeting

Spring 2023: Undergraduate Writing Courses

WR 121 001 COLLEGE WRITING

Instructor: Chukwudaru Michael
Instructional Method: In-Person Meeting

WR 121 002 COLLEGE WRITING

Instructor: JT Duncan
Instructional Method: In-Person Meeting

WR 121 003 COLLEGE WRITING

Instructor: Alex De La Cruz
Instructional Method: In-Person Meeting

WR 121 004 COLLEGE WRITING

Instructor: Lora Kincaid
Instructional Method: In-Person Meeting

WR 200 001 WRITING ABOUT LITERATURE

Instructor: Brittany Shike
Instructional Method: In-Person Meeting

WR 210 001 GRAMMAR REFRESHER

Instructor: Caroline Hayes
Instructional Method: In-Person Meeting

This two-credit class will review grammatical, stylistic, and mechanical writing conventions to improve clarity and ease of writing. Students will not only refresh their understanding of standardized rules of academic writing, but will explore the fluidity and potential of linguistic diversity and changes in writing conventions over time. Over the course of the term we will develop a realistic and practical understanding of why we have grammar rules, when and why to use them, and how our usage of (or choice not to use) certain rules can change our meaning, inform our writing style, develop our voice, and even function as a subversive act of writing. Coursework will consist largely of class attendance and participation, with opportunities to practice and develop your own understanding and usage of rules discussed in class and writing conventions as a whole.

WR 212 001 INTRO FICTION WRITING

Instructor: Ryan Goderez
Instructional Method: In-Person Meeting

In this course we will develop an awareness of the basic craft of writing fiction and narrative, with a focus on reading and analyzing texts in diverse voices and genres, and learning to write and revise with intention.

WR 212 002 INTRO FICTION WRITING

Instructor: Theo Thompson
Instructional Method: In-Person Meeting

WR 213 001 INTRO POETRY WRITING

Instructor: Ambra Wilson
Instructional Method: In-Person Meeting

WR 213 002 INTRO POETRY WRITING

Instructor: Consuelo Wise
Instructional Method: In-Person Meeting

WR 214 001 INTRO NONFICTION WRITING

Instructor: Robin Emanuelson
Instructional Method: In-Person Meeting

WR 222 001 WRITING RESEARCH PAPERS

Instructor: Echo Meyers
Instructional Method: In-Person Meeting

WR 222 002 WRITING RESEARCH PAPERS

Instructor: Kirsten Rian
Instructional Method: Online - No Scheduled Meetings

WR 227 001 INTRO TECHNICAL WRTG

Instructor: Mary Sylwester
Instructional Method: Online - No Scheduled Meetings

WR 227 002 INTRO TECHNICAL WRTG

Instructor: Sumayyah Uddin
Instructional Method: In-Person Meeting

Practical experience in forms of technical communication, emphasizing basic organization and presentation of technical information. Focuses on strategies for analyzing the audience and its information needs.

WR 227 003 INTRO TECHNICAL WRTG

Instructor: Francisco Cabre Vásquez
Instructional Method: Online - No Scheduled Meetings

WR 301 001 WIC: CRITICAL WRTING ENGLISH

Instructor: Sara Atwood
Instructional Method: In-Person Meeting

This course will sharpen students’ critical, analytical, and interpretive skills through engagement with a variety of literary texts (poetry, short stories, essays, and novels). We will study and practice a range of strategies for thinking and writing about literature and will generate ideas for essays through close reading and discussion. Students will learn to effectively integrate secondary sources into their work; to engage with and respond to critical commentary and debate; to organize and communicate clearly and persuasively; and to develop a practice of drafting, revising, and editing.

WR 301 002 WIC: CRITICAL WRTING ENGLISH

Instructor: STAFF
Instructional Method: Online - Scheduled Meetings

WR 312 001 INTERMED FICTION WR

Instructor: Leni Zumas
Instructional Method: In-Person Meeting

WR 312 002 INTERMED FICTION WR

Instructor: Justin Hocking
Instructional Method: In-Person Meeting

Cross-Genre Approaches to the Short Story:

What new and vibrant species of narrative emerges when writers cross-pollinate a short story with a poem or an essay, or realistic fiction with a fairy tale? What happens when we dress up “high literature” in clothing usually reserved for horror or speculative fiction? Or accessorize flash fiction with visual art? What connections might we draw between the terms genre and gender, and what part does genre-crossing play in queering the literary canon? While exploring the freedoms that exist beyond genre, how might we also rethink conventional notions about plot, character, point of view and setting? This intermediate course will examine these and other questions, along with generative writing exercises, weekly student workshops, and a strong emphasis on writing as a process rather than a product.

(Important Caveat: Though our reading list focuses on cross-genre and hybrid forms, your own workshop submissions do not necessarily need to have any cross-genre or hybrid elements.)

WR 313 001 INTERMEDIATE POETRY WRITING

Instructor: Consuelo Wise
Instructional Method: In-Person Meeting

WR 323 001 WRITING AS CRITICAL INQUIRY

Instructor: Keri Behre
Instructional Method: Online - No Scheduled Meetings

In this online 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 include multiple drafts of three writing projects, peer-review workshops, weekly low-stakes writing assignments, class discussions, and a final self-reflective essay.

WR 323 002 WRITING AS CRITICAL INQUIRY

Instructor: Amanda Hedrick
Instructional Method: Hybrid

This hybrid section of Writing as Critical Inquiry meets in the classroom on Tuesdays and uses Canvas to work the rest of the week. It's a great option for people with busy schedules or who want the benefits of both an online and in-person class when working on writing. Together, we'll practice writing in personal, academic, and professional contexts on topics of your choice and your interest to make the most of our 10 weeks.

WR 323 003 WRITING AS CRITICAL INQUIRY

Instructor: Lee Ware
Instructional Method: Online - No Scheduled Meetings

WR 323 004 WRITING AS CRITICAL INQUIRY

Instructor: Amanda Hedrick
Instructional Method: Hybrid

WR 323 005 WRITING AS CRITICAL INQUIRY

Instructor: Amy Harper
Instructional Method: Online - No Scheduled Meetings

WR 323 006 WRITING AS CRITICAL INQUIRY

Instructor: Talitha May
Instructional Method: Hybrid

Our first unit will adopt a meta-communicative awareness of writing and rhetoric and interrogate commonplace ways of thinking about writing. We will examine questionable writing constructs and explore how they might overlap or even diverge from our personal literacy experiences. The second unit will examine environmental issues through a rhetorical lens and examine how power operates through language. Finally, the last unit will examine intersections of identity and social justice issues in the US food system. As a participation-based class, the cornerstones of this class are group inquiry and class discussion.

WR 323 007 WRITING AS CRITICAL INQUIRY

Instructor: Elizabeth Miossec-Backer
Instructional Method: Online - No Scheduled Meetings

WR 323 008 WRITING AS CRITICAL INQUIRY

Instructor: Jarrod Dunham
Instructional Method: In-Person Meeting

WR 323 009 WRITING AS CRITICAL INQUIRY

Instructor: Sean Warren
Instructional Method: In-Person Meeting

WR 327 001 TECHNICAL REPORT WRITING

Instructor: W. Tracy Dillon
Instructional Method: Online - No Scheduled Meetings

In this course, you will have the opportunity to focus on solving a technical problem that is relevant to your professional development and academic discipline. Your report might solve an actual problem at your workplace, address a technical or theoretical problem in your academic discipline, or tackle a social problem of importance to you. The strategy is “problem solving,” and the intention is for you to deal with real-life issues that you are find relevant. Let’s pause, though, and end with The PSU Bulletin Course Description, which has this to say about WR 327: “Strategies for presenting technical information from the technician, management, and lay person's perspectives; rhetorical theory and techniques for adapting technical prose to nontechnical audiences; and techniques for emphasizing and de-emphasizing information.”

Huzzah! Sounds like fun to me. Questions? Email the Professor at dillont@pdx.edu.

WR 327 002 TECHNICAL REPORT WRITING

Instructor: Julie Kares
Instructional Method: Online - No Scheduled Meetings

WR 327 003 TECHNICAL REPORT WRITING

Instructor: Dr. Sidouane Patcha
Instructional Method: In-Person Meeting

WR 327 Technical Report Writing will prepare you to gain an understanding of the theories, issues, and practices of technical communication, which you might encounter in the workplace, such as general correspondence, proposals, reports, oral/visual presentations, cross-cultural document design, effective language practices, writing about and with data.

Learning to create technical reports for different stakeholders in workplace contexts will strengthen your ability to research, draft, revise and present information in a concise and ethical manner. You will also gain proficiency in the use of online tools used to create workplace communication documents, practice working in teams, and hone your overall professional communication etiquette.

WR 398 001 TOP: WRITING COMICS

Instructor: Brian Bendis
Instructional Method: Online - Scheduled Meetings

WR 407 001 SEMINAR: FICTION

Instructor: Janice Lee
Instructional Method: In-Person Meeting

The Sentence:

What is the language with which you move through the world, through which you think, experience, and “are”? Where does that language come from and what does it say about who you are, how you have come to be, how you continue to become, your environment, your privileges, your contextual entanglement with the world around you? When you look closely at just one sentence you have written, how does the sentence enact the performance of your existence and relationship to the world? What method of reading does your writing invite?

In this class, we will explore how the structure of the sentence can represent and enact particular ways of seeing the world, being in the world, and relating to the world. We’ll investigate how the sentence might reveal an entire worldview through the shape it assumes, through the relationships it maps, which ideological systems it upholds, what power structures it validates simply through its grammar, syntax, and contextual placement. This class is an invitation to listen to form and to ourselves. We will delve into the multi-sensory modes of language, ecological, spiritual, & relational storytelling, and grammatical sense-making via craft discussions, guided meditations, generative writing prompts, and inquiry/investigation of our own writing. We’ll be reading contemporary texts from all genres.

Required Texts:

Plans For Sentences by Renee Gladman
Dictee by Theresa Hak Kyung Cha
The Clearing by Jerome Ellis (album available online on sources like Apple Music, Spotify, etc.)

WR 410 001 TOP: ADVANCED BOOK DESIGN

Instructor: STAFF
Instructional Method: In-Person Meeting

Advanced Book Design is a class that will explore the intermediate to advanced functionality of Adobe InDesign in the context of print and digital book design. The class will include units on advanced application of design principles, the software, and production considerations.

Builds upon the Adobe InDesign, Photoshop, Illustrator, and Acrobat skills that students developed in WR 462/562 Book Design Software and further applied in WR 471/571 for long-form book projects. Prerequisite: WR 4/571: Typography, Layout, and Production.

WR 410 002 TOP: AUDIOBOOKS

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

This course takes students through the practical production of an audiobook, from scripting to marketing and distribution. The hands-on production of audiobooks in this project-based course is also contextualized within the state of the publishing industry’s audiobook format value stream—its history, current state, and trajectory in the market.

WR 410 003 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 410 004 TOP: COMICS EDITING

Instructor: Shelly Bond
Instructional Method: Online - Scheduled Meetings

WR 410 005 TOP: SCIENCE WRITING

Instructor: Dr. Sarah Read
Instructional Method: Attend Anywhere

The goal of this course is to prepare students to be effective writers and communicators about science for both scientific and public audiences. Students will study a variety of genres of scientific writing, including scientific research reports, research posters, research proposals, science journalism, science non-fiction and various digital genres (e.g., blogs and websites). Students will learn rhetorical and stylistic strategies for writing across multiple audience types about science. Students can choose a focus on writing for scientific or public audiences for the course project. Opportunities for collaborative work as well.

WR 410 006 TOP: ACCESSIBILITY FOR WEB

Instructor: Adam McBride-Smith
Instructional Method: Attend Anywhere

According to US law and legal precedent, websites and digital documents must be accessible to people with disabilities. And yet, approximately 97% of websites have one or more accessibility flaws! The number of lawsuits in the US targeting inaccessible web content have tripled over the past decade, and this has spurred a greater awareness of and commitment to accessibility in both the public and private sector. Technical writers will almost certainly encounter questions about accessibility during their careers. This course will help you be ready to answer those questions.

Together, we will explore accessibility from the perspective of users. We will also develop the basic skills needed to produce more accessible documents and web content. Ultimately, accessibility is a deeply human and creative approach to design, and one that offers great rewards. It results in more usable products for everyone, drives innovation, and improves an organization’s reach and relationship with the community. Finally, being able to add accessibility experience to your resume is a major advantage in today’s job market.

WR 412 001 ADV FICTION WRITING

Instructor: Gabriel Urza
Instructional Method: In-Person Meeting

WR 413 001 ADVANCED POETRY WRITING

Instructor: John Beer
Instructional Method: In-Person Meeting

WR 427 001 TECHNICAL EDITING

Instructor: Victoria Raible
Instructional Method: Online - 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: Attend Anywhere

As websites have grown more robust and complex to satisfy the needs of website visitors, the systems and tools have grown in robustness and complexity. The days of adding content to a static HTML website are diminishing, and the Web Content Management System (CMS) are a fact of life. This class will show how a modern CMS works. Students will also learn how the auxiliary tools (translation, SEO, analytics, authoring tools) are a part of this system. Beyond the tools, this class will feature best practices in content strategy, content modeling, and workflows.

WR 433 001 RESEARCH METHODS FOR TECH WRIT

Instructor: Dr. Sidouane Patcha
Instructional Method: Attend Anywhere

This course introduces students to the research methods commonly practiced by professional technical communicators. 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, so the methods taught in any given section of the course will be shaped by the needs of the client-project. Students will produce professional-quality project deliverables for the client and the program portfolio.

WR 459 001 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. Prior writing workshop experience is helpful, but not required.

Texts:

Autobiography of a Face – Lucy Grealy (978-0544837393)
The Art of Memoir – Mary Karr (978-0062223074)
The Magical Language of Others – E.J. Koh (978-1951142278)
Truth and Beauty – Ann Patchett (978-0060572150)
The Book of Eels – Patrik Svensson (978-0062968821)
Plus additional pieces online by Lacy Johnson, Wayétu Moore, and Anthony So.

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. Issues specific to both fiction and nonfiction books will be covered.

WR 462 001 BOOK DESIGN SOFTWARE

Instructor: Pariah Burke
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
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: Hybrid

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: Kathi Berens
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: Hybrid

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
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
Instructional Method: In-Person Meeting

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.

Spring 2023: Graduate Writing Courses

WR 507 001 SEM: MFA FICTION

Instructor: Gabriel Urza
Instructional Method: In-Person Meeting

Lifespan of a Novel: Kesha Ajose Fisher's No God Like the Mother:

In this seminar, we will be working together as a class to create an audio work (i.e. podcast) that documents the way a single book comes into existence, from conception to writing, from revision to publication. As we build this piece, we will be exploring possibilities of form and medium that are applicable to our own work in any genre. We will look at how books and authors are currently discussed in literary podcasts, and students will be asked to consider how to translate their own work into an audio form.

The class project will be centered around an in-class interview with a published author who will discuss how one of their books came into existence. We may also have the opportunity to speak with the author’s agent or editor to talk about the acquisition and publication processes, publicity and promotion, etc. We will then work together to edit and arrange these discussions into a completed, finished account of this book’s journey from idea to publication.

This quarter’s featured book will be Kesha Ajose Fisher’s debut short story collection, No God Like the Mother, winner of the 2020 Oregon Book Award. Set around the world, the stories in this collection offer an insight into the extraordinary everyday lives of women, following characters through times of transition, hope, and uncertainty. In addition to writing, Kesha works in social services and is a vocal advocate for immigrants and refugees.

WR 507 003 SEM: BK PUBLISHING FOR WRTRS

Instructor: Justin Hocking
Instructional Method: In-Person Meeting

This course will empower writers of any genre to navigate both within and beyond the conventional commercial pathways for propelling your creative work into the world. Via research, field trips, and guest visits from small-press publishers, 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). To this end, 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 publishers. In addition we will explore an array of nontraditional publishing options, audience-building resources such as Patreon, and grant opportunities for funding your writing/publishing endeavors.

Reading List:

Stolen Sharpie Revolution by Alex Wrekk
A People's Guide to Publishing by Joe Biel

WR 507 004 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:

Writing the Memoir – Judith Barrington (978-0933377509)
Autobiography of a Face – Lucy Grealy (978-0544837393)
The Magical Language of Others – E.J. Koh (978-1951142278)
Truth and Beauty – Ann Patchett (978-0060572150)
The Book of Eels – Patrik Svensson (978-0062968821)
Plus additional pieces online by Lacy Johnson, Wayétu Moore, and Anthony So.

WR 510 001 TOP: ADVANCED BOOK DESIGN

Instructor: STAFF
Instructional Method: In-Person Meeting

WR 510 002 TOP: AUDIOBOOKS

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

WR 510 003 TOP: EBOOK PRODUCTION

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

WR 510 004 TOP: COMICS EDITING

Instructor: Shelly Bond
Instructional Method: Online - Scheduled Meetings

WR 510 005 TOP: SCIENCE WRITING

Instructor: Dr. Sarah Read
Instructional Method: Attend Anywhere

WR 510 006 TOP: ACCESSIBILITY FOR WEB

Instructor: Adam McBride-Smith
Instructional Method: Attend Anywhere

WR 512 001 GRADUATE FICTION WRITING

Instructor: Janice Lee
Instructional Method: In-Person Meeting

In this class, students will engage with topics related to craft (point of view, character, narrative, setting, etc.), look more closely at their own relationship with language, and aim to produce one complete draft of original fiction. Students will also participate in workshops and provide written critical engagements of the works of their peers. Our work will be guided by various writing & revision exercises, as well as readings by diverse contemporary authors. This term, we’ll focus on rethinking the cultural values of craft alongside the core text for the class this term: Craft in the Real World by Matthew Salesses.

WR 521 001 MFA CORE WORKSHOP FICTION

Instructor: Leni Zumas
Instructional Method: In-Person Meeting

WR 522 001 MFA CORE WORKSHOP POETRY

Instructor: Consuelo Wise
Instructional Method: In-Person Meeting

WR 527 001 TECHNICAL EDITING

Instructor: Victoria Raible
Instructional Method: Online - Scheduled Meetings

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.

WR 531 001 ADV TOP TECH WRITING TECHNLOGY

Instructor: Bryan Schnabel
Instructional Method: Attend Anywhere

WR 533 001 RESEARCH METHODS FOR TECH WRIT

Instructor: Dr. Sidouane Patcha
Instructional Method: Attend Anywhere

WR 540 001 TECH WRITING PORTFOLIO

Instructor: Sarah Read
Instructional Method: Online - No Scheduled Meetings

WR 540 002 TECH WRITING PORTFOLIO

Instructor: Sarah Read
Instructional Method: Online - No Scheduled Meetings

WR 550 001 PORTLAND REVIEW

Instructor: Michael Seidlinger
Instructional Method: Online - No Scheduled Meetings

WR 561 001 BOOK EDITING

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

WR 562 001 BOOK DESIGN SOFTWARE

Instructor: Pariah Burke
Instructional Method: In-Person Meeting

WR 563 001 BOOK MARKETING

Instructor: Robyn Crummer
Instructional Method: In-Person Meeting

WR 564 001 BUSINESS OF BOOK PUBLISHING

Instructor: Kent Watson
Instructional Method: Hybrid

WR 566 001 DIGITAL SKILLS

Instructor: Kathi Berens
Instructional Method: In-Person Meeting

WR 572 001 COPYEDITING

Instructor: Des Hewson
Instructional Method: Hybrid

WR 574 001 PUBLISHING STUDIO

Instructor: Robyn Crummer
Instructional Method: In-Person Meeting

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 575 001 PUBLISHING LAB

Instructor: Robyn Crummer
Instructional Method: In-Person Meeting

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.

Spring 2023 Courses

On This Page

Spring 2023: Undergraduate English Courses

ENG 204 001 SURVEY OF BRITISH LIT I

ENG 254 001 SURVEY OF AMERICAN LIT II

ENG 300 001 LIT FORM AND ANALYSIS

ENG 300 002 LIT FORM AND ANALYSIS

ENG 301U 001 TOP: SHAKESPEAREAN GENRE

ENG 304 001 CRITICAL THEORY OF CINEMA

ENG 305U 001 TOP: POST-CINEMA

ENG 305U 002 TOP IN FLM: SURVEILLANCE

ENG 306U 001 TOP: FANTASY LITERATURE

ENG 306U 002 TOP: URSULA K. LE GUIN

ENG 307U 001 SCIENCE FICTION

ENG 310U 001 TOP: CHILD/YOUNG ADULT LIT

ENG 325U 001 POSTCOLONIAL LITERATURE

ENG 326 001 LIT COMM DIFF

ENG 335U 001 TOP: ADAPTING LIT TO FILM

ENG 335U 002 TOP: CONSPIRACY THEORY

ENG 342U 001 EIGHTEENTH CENTURY LITERATURE

ENG 367U 001 TOP: GHOSTS AND HAUNTINGS

ENG 372U 001 TOP: BODIES, POWER, AND PLACES

ENG 378U 001 AMERICAN POETRY II

ENG 383U 001 TOP: EXPLORATION AND MEDIA

ENG 387U 001 WOMEN'S LITERATURE

ENG 399 001 SPST: NONFICTION COMICS

ENG 413 001 TEACHING & TUTORING WR

ENG 426 001 ADV TOP: QUEER MIDDLE AGES

ENG 428 001 CANONS AND CANONICITY

ENG 435 001 ADV TOP: FILM & MEDIA

ENG 460 001 ADV TOP: AM LIT TO 1800

Spring 2023: Graduate English Courses

ENG 507 001 SEM: POETRY AND POLITICS

ENG 507 003 SEM: STORIES AND MAPS

ENG 518 001 COLLEGE COMP TEACHING

ENG 519 001 ADV COLLEGE COMP TEACHING

ENG 531 001 TOP: COLLOQUIUM

ENG 561 001 TOP: AMERICAN GOTHIC

Spring 2023: Undergraduate Writing Courses

WR 121 001 COLLEGE WRITING

WR 121 002 COLLEGE WRITING

WR 121 003 COLLEGE WRITING

WR 121 004 COLLEGE WRITING

WR 200 001 WRITING ABOUT LITERATURE

WR 210 001 GRAMMAR REFRESHER

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 407 001 SEMINAR: FICTION

WR 410 001 TOP: ADVANCED BOOK DESIGN

WR 410 002 TOP: AUDIOBOOKS

WR 410 003 TOP: EBOOK PRODUCTION

WR 410 004 TOP: COMICS EDITING

WR 410 005 TOP: SCIENCE WRITING

WR 410 006 TOP: ACCESSIBILITY FOR WEB