For students with experience in writing nonfictional prose. Advanced study of rhetorical strategies and techniques of prose style. Considerable writing and revision required. In addition to analyzing the work of class members, students read and discuss the work of distinguished essayists chosen to represent a range of prose styles, subjects, and biographical patterns.
" This course is a workshop for students with some experience in writing essays, nonfiction prose. Our focus will be negotiating and representing identities grounded in gender, race, class, nationality, sexuality, and other categories of identity, either our own or others', in prose that is expository, exploratory, investigative, persuasive, lyrical, or incantatory. We will read nonfiction prose works by a wide array of writers who have used language to negotiate and represent aspects of identity and the ways the different determinants of identity intersect, compete, and cooperate."
This course is an introduction to writing prose for a public audience--specifically, prose grounded in, but not confined to, personal narrative. That is, you will write essays that engage elements and aspects of contemporary American popular culture and that do so via a vivid personal voice and presence. In the coming weeks we will read a number of articles that address current issues in popular culture along with essays, pieces of carefully-crafted nonfiction, by writers, scientists, philosophers, poets, historians, literary scholars, and many others. These essays will address a great many subjects from the contemporary world, using personal narrative and memoir to launch and elaborate an argument or position or refined observation. And you yourselves will write a great deal in the variety of forms that the essay genre embraces, attending always to the ways your purpose in writing and your intended audience shape what and how you write.
In order to engage in research processes, students must be able to access informational (nonfiction) books independently. In this lesson they will learn how nonfiction books are arranged. They will then practice putting nonfiction books in order by call number, and will practice locating nonfiction books on the shelf.
Subject:
Humanities, Science and Technology, Social Sciences
This course concerns the writing of creative nonfiction, which involves the writing of true life events in creative form. Creativity comes into play with the style or manner in which the writer relates her story to the reader. Facts are raw, but also contextual. In creative nonfiction, context is perspective; and perspective is what makes a story interesting. Essentially, creative nonfiction is very similar (and some might even say nearly the same) to fiction; the main difference is whether the facts in the story concur with the facts in real life. In this course, we will explore the distance, or proximity, between fiction and nonfiction.
British literature and culture during Queen Victoria's long reign, 1837-1901. Authors studied may include Charles Dickens, the Brontes, Lewis Carroll, George Eliot, Robert Browning, Oscar Wilde, Arthur Conan Doyle, Rudyard Kipling, and Alfred Lord Tennyson. Discussion of many of the era's major developments such as urbanization, steam power, class conflict, Darwin, religious crisis, imperial expansion, information explosion, and bureaucratization. Fiction, nonfiction, and poetry; syllabi vary.
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