Writing Literature Essays Chip Lee

Department of Writing, Literature & Publishing

Courses

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  • LF101 - Elementary French 1 (4 Credits)
    Stresses mastery of essential vocabulary and primary grammatical structures through a situational approach. Students perceive that language is "living" and they discover by the third week of the semester that they can already communicate in French. Class time is devoted to interactive practice. Conversational skills, pronunciation, and understanding are verified through regular oral exams.
  • LF102 - Elementary French 2 (4 Credits)
    Continuation of LF 101, this course also incorporates reading skills and exposes students to a wider range of cultural materials.
  • LI120 - Introduction to Literary Studies (4 Credits)
    Gives students intensive practice in literary analysis, critical writing, and related research. In discussing primary texts, considerable attention is given to elements of the different genres (e.g., narrative point of view, narrative structure, metrical and free verse), as well as to issues relevant across literary genres (e.g., form and content, voice, contexts, tone). Readings are chosen from the following genres: poetry, drama, and narrative modes. Readings also include selected literary theory and criticism.
  • LI201 - Literary Foundations (4 Credits)
    Surveys foundational works of literature spanning a wide range of periods, genres, and regions in order to familiarize students with broad principles in literary and cultural history. Works studied may include ancient Greek and other premodern epic, lyric, and drama along with cognate and contrasting traditions.
  • LI202 - U.S./American Literatures (4 Credits)
    Introduces students to the literary history of the United States from the colonial period to the modern by surveying a wide range of texts, including canonical and non-canonical authors in several genres. The course examines questions such as: How is the narrative of Americanness constructed? How have authors employed the literary craft to explore the construction of the self in relation to transcendentalism, abolitionism, feminism, class consciousness, and national belonging? This course focuses on writers such as Whatley, Apress, Melville, Douglass, Whitman, Stowe, Rowlandson, Hurston, Steinbeck, and Paredes.
  • LI203 - Literatures in English (4 Credits)
    A historical overview of several genres of non-U.S. literatures written in English from Renaissance through the 21st century. This course focuses on writers such as More, Defoe, Bronte, Shakespeare, Bronte, Joyce, Achebe, Rhys, Coetzee, and Walcott.
  • LI204 - Topics in Literature: Decolonizing Literature and Anti-Colonial Theories (4 Credits)
    For marginalized communities within the Americas the white settler colonial projects begun by Christopher Columbus in 1492 have produced dystopias across the Western hemisphere. Rather than placing dystopias strictly within the imaginary spaces of science/speculative fiction, this course analyzes fiction from writers of color through the lens of anti-colonial and post-colonial critiques of white settler nations. Specifically, we will focus on how the production of histories of conquest and subordination aim to produce "futures" in which certain racial identities become figures of the past. We will pay special attention to the ways in which continuous resistance has often been cast as "impossible" in order to downplay their effectiveness in challenging white settler domination. Possible texts will include works by Audre Lorde, Frantz Fanon, Sylvia Wynter, Toni Morrison, Octavia Butler, Gloria Anzaldua, Cherrie Moraga, James Baldwin, and Helena Maria Viramontes.
    Instructor: Fiona Maurissette
  • LI204 - Topics in Literature: Post Modern Fairy Tales (4 Credits)
    Through the study of the origins and development offairy tales, we?ll explore how storytelling shapes our sense of identity. We?llexamine the recurring motifs within these enduring tales and study why andhow contemporary poets & writers subvert those themes and lessons. Thepostmodern fairy tale does not promise false happiness, but enlightens usabout the distorted manner in which our world has been transformed.
  • LI204 - Topics in Literature: The Surrealist Look: Games, Gender and Image (4 Credits)
    Surrealism is a unique moment in the history of the Avant-garde. With its emphasis on image, conceived as a cluster of juxtaposed, apparently incongruent images, it has radically changed artistic expression and the modes of perceiving and thinking. Calling for man?s absolute freedom, Surrealism has experimented with games and automatic writing and has idealized love, madness, sexuality and the concept of ?Woman.? With such premises, it is no wonder that it has known an unprecedented impact outside the borders of its host country, France, and is still alive through a plurality of manifestations. The aim of this course is to familiarize students with the main principles of Surrealism by closely examining the work of the most representative poets and artists, including the manifestoes of Surrealism and some of the major works of the leader of Surrealism Andre Breton such as Nadja, Soluble Fish and Mad Love. All issues will be examined through a broader comparative scope, grounded on theoretical readings, literary and artistic works-cinema, theater and performance, from European, American and Latin American cultures. Course will be taught in English and several film screenings will be included.
  • LI204 - Topics in Literature: Democracy and American Literature (4 Credits)
    This course traces democracy?s genealogy in America, beginning with its Greek foundations and then shifting to its contentious transposition into an American context from the revolutionary period to the present day. Democracy frequently appears in American political discourses as a utopian drive or impulse, yet writers and thinkers have persistently emphasized the violence of this vision of democracy and rejected the utopian undercurrent of the American democratic project. By reading different articulations of the democratic model in literary and critical texts, this course will examine different conceptions of democracy as well as think alternative traditions of democratic thought.
  • LI204 - Topics in Literature: Comic Prose (4 Credits)
    This class exposes students to the masters of comic prose and the variety of strategies they employ, including the carnivalesque, the grotesque, the dark, the absurd, the ironic, and the parodic. The class will be writing-heavy: students will hone their own comic voices through the development of several pieces of writing, including comic narratives, satiric essays, memoirs, and prose poetry. To draw inspiration, students will read and discuss samples from a variety of authors, such as Boccaccio, Rabelais, Voltaire, Jonathan Swift, Charlotte Lennox, Mark Twain, Sholem Aleichem, Anton Chekhov, Franz Kafka, Jorge Luis Borges, Zora Neale Hurston, Griselda Gambaro, Flannery O?Connor, Kurt Vonnegut, Marjane Satrapi, and David Sedaris.
  • LI204 - Topics in Literature: Resistance and Revolution (4 Credits)
    Contemporary activists in the United States, such as those involved in Black Lives Matter and the Occupy Movement, repeatedly turn to earlier movements for their inspiration and to develop their own methods of resistance. This course asks, how does resistance happen? What forms can resistance take? What structures of oppression do various movements seek to dismantle? We will analyze the history of resistance and revolution in the U.S. by focusing on literary representations from a range of authors, including Mike Gold, Richard Wright, Assata Shakur, Audre Lorde, Leonard Peltier, Gloria Anzaldua, Theresa Hak Kyung Cha, and Dana Spiotta.
  • LI204 - Topics in Literature: Modernism and Sound (4 Credits)
    This course attends to the auditory dimensions of modernism, examining how urbanization, industrialization, and mechanized warfare violently changed modern humanity?s modes of listening and being, and how modernism echoed these changes by revolutionizing art. We will immerse ourselves in modernist texts from the early and mid-twentieth century to understand how modernism represents sound and listening as both every day ?background noise? and transformative experience that pushes the boundaries of subjectivity. In addition to reading experimental literature, we will contextualize auditory modernism within the technologies of sound recording and communications that changed how people listen to each other and radically altered music composition and film. Authors and artists include but are not limited to Pound, Eliot, Woolf, Joyce, Stevens, Hurston, Forster, Hughes, Stravinsky, Schoenberg, Bergman, Tarkovsky, and Coppola. Theoretical readings may include selections from Adorno, Barthes, Derrida, Sterne, Cavarero, Dolar, and Erlmann.
  • LI204 - Topics in Literature: Women Nobel-Laureates in Literature (4 Credits)
    This seminar explores the work (poetry, prose, drama, and essays) of the fourteen women Nobel prize winners in literature since 1909: Svetlana Alexievitch; Alice Munro; Herta Mueller; Doris Lessing; Elfriede Jelinek; Wislawa Szymborska; Toni Morrison; Nadine Gordimer; Nelly Sachs; Gabriela Mistral; Pearl Buck; Sigrid Undset; Grazia Deledda; Selma Ottila Lovisa Lagerlof. The literary contributions of these distinguished international women writers will be examines in their social and political contexts, while analysis will be performed on the most representative works of each of these writers.
  • LI204 - Topics in Literature: Black English and its Influence on American Literature and Culture (4 Credits)
    Courses focus on specific themes or topics, such as literature of the city, artists in literature, or coming of age. Topics differ each semester; all topics include literature in at least three genres (selected from poetry, fiction, nonfiction, and drama).
    Instructor: Bridgit Brown
  • LI208 - US Multicultural Literatures (4 Credits)
    Explores ways writers from disparate communities in the U.S. use various literary forms to articulate resistance, community, and citizenship. Literary texts from several genres are situated in their historical contexts and the writing strategies of each author is examined. Also includes essays, journalism, and films to learn how diverse cultural texts work to represent America.
  • LI210 - American Women Writers (4 Credits)
    Examines fiction, poetry, and other genres by 19th- and 20th-century American women such as Jacobs, Dickinson, Chopin, Kingston, Welty, Rich, and Morrison.
  • LI211 - Topics in Global Studies: Global Indigenous Literatures (4 Credits)
    The adoption of the Declaration of the Rights of Indigenous Peoples by the United Nations in 2007 recognized indigeneity as a unique political status, as well as indigenous peoples' inherent rights to land, culture, and self-determination. At the same time, defining indigenous identity remains a difficult and controversial project. In this course, we will examine novels, non-fiction, films, and poetry produced by people from the Americas, Oceania, Africa, and the circumpolar Arctic who identify as indigenous. In so doing, we will try to shed light on the unique histories and cultures of those peoples whose continued existence has been marginalized, denied, and erased.
  • LI212 - Black Revolutionary Thought (4 Credits)
    Traces the protest tradition and radical thinking in African American literature. Using landmark essays by W.E.B Du Bois and Alain Locke to frame the debate and then moving from David Walker to Malcolm X and beyond, this course engages questions about the development of the Jeremiadic tradition in African American literature, the role of the black artist in promoting social change, gendered differences in protest literature, and whether politics informs and elevates art or strangles it.
  • LI213 - Latin American Literature and Cinema (4 Credits)
    Considers how Latin American authors use poetry, drama, essay, and fiction to provide alternative versions of national foundations, revolutionary movements and political repression. Students view literary writing in relationship to the languages of scientific inquiry, myth, history, anthropology, psychology and journalism.
  • LI214 - U.S. Latinx Literature (4 Credits)
    Introduces students to literature produced in the United States by writers of Latin American descent whose writings explore the cultural and political dimensions of belonging to multiple, often competing, cultures at once. Students read poetry, essays, fiction, and drama by authors in the Chicano, Puerto Rican (Borinques), Cuban- and Dominican-American traditions as well as works by Latinx writers whose works cross the borders of these traditions and those whose works are affiliated with South American and Central American literary traditions.
  • LI215 - Slavery and Freedom (4 Credits)
    Looks at a wide-ranging survey of 19th-, 20th-, and 21st-century poems, plays, novels, and nonfiction narratives concerning the issue of American slavery and its aftermath. Explores slave narrative conventions across historical periods as well as themes such as identity, masking, the liberating power of literacy, and masculine and feminine definitions of freedom.
  • LI216 - Literature of the Gothic (4 Credits)
    Focuses on literary and aesthetic tradition known as the Gothic, following its various manifestations from 18th century England up to present-day America. Students read novels, poetry, short stories and plays. Students interested in postmodern expressions of the Gothic, from graphic novels to film, will be invited to bring these to the table. Is Dracula really about the anxiety of empire? What is Frankenstein saying about social theory and the dangers of Romanticism? And finally, why does Gothic material retain its fascination in the 21st century, when so many aesthetic movements lie moldering in their graves?
  • LI217 - Literature, Culture and the Environment (4 Credits)
    Examines the literature, art, and culture of Native and non-Native America and consider how these two very different traditions have affected the environment. Initially, students focus on Native Creation stories and on Genesis in order to better understand the definition of "wilderness." They then study the work of 17th-, 18th-, and 19th-century authors and artists who influenced and/or responded to how the environment should be managed. As students progress to the 20th and 21st centuries, they consider the work of artists, writers, and filmmakers who acknowledge and attempt to come to terms with a drastically changed and oftentimes degraded landscape in their work.
  • LI303 - The Art of Nonfiction (4 Credits)
    Examines a broad range of literary nonfiction works, present and past, paying particular attention to the craft within the nonfiction work but identifying relationships and similarities that literary nonfiction has with the novel and short story. Includes readings from such diverse forms as historical narrative, adventure travel and survival, memoir and the creative nonfiction essay, and other forms of factual writing artfully constructed.
  • LI304 - Topics in Literature: Reading and Writing Dangerous Poems (4 Credits)
    We will study the most exciting and ambitious contemporary poets, writers whose work is "a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, and affect" (Dean Young). Students will respond to these writers by composing their own poems, honing their art by developing an ability to articulate a refined and informed affinity to poetry.Our reading list will include Anne Carson, Bill Knott, Maggie Nelson, Claudia Rankine, and Monica Youn, among others. Students will write short essays and a 7-poem portfolio.
  • LI304 - Topics in Literature: Shakespearean Journeys (4 Credits)
    On this course, we will journey across time and space with and through Shakespeare. An avid (albeit armchair) traveler, the Bard was fascinated with the lands and people that existed beyond early modern England?s shores and, fulfilling the newly-erected theaters? promise to ?the Globe ? compass soon? transported Venice, Vienna, Athens and Elsinore to the `Wooden O?. Now, his plays travel transnationally, temporally and across genres, and can be found performed in the most distant and unlikely places. Shakespeare Journeys charts the travels of Shakespeare?s texts from page-to-stage-to-screen and from the local to the global. It highlights the playwright?s role in a mixed-media, global context and offers insight into the process of adapting, appropriating and translating the dramatist?s work, a process that seems never-ending.
  • LI304 - Topics in Literature: Literature of the Gothic II (4 Credits)
    This course will focus on the literary and aesthetic tradition known as the Gothic, moving into more detail than the 200-level course (which is not a specific prerequisite). Our attention this semester will be on gothic narratives ranging from the late Victorian though the postmodern period. What does The Strange Case of Dr. Jekyll and Mister Hyde tell us about shifting perceptions of selfhood at the turn of the century? What does The War of the Worlds have to do with vegetarianism, religious crisis, and reverse colonization? Are there any ghosts at Bly? And finally, why does Gothic material retain its fascination in the 21st century, when so many aesthetic movements lie moldering in their graves?
  • LI307 - The Art of Poetry (4 Credits)
    Through reading and discussion of poems from different historical periods, students learn the technical aspects of poetry (such as meter, rhyme, and structure) and how poets use these techniques to create meanings and effects, giving students a critical vocabulary for reading and practicing poetry. For students who want to enhance their ability to discuss and write about poetry by learning the essentials of the poet's art.
  • LI308 - The Art of Fiction (4 Credits)
    Explores a broad range of short stories and novels by American and international authors. Teaches students to look at fiction from the perspective of the writer's craft, and emphasizes such elements as structure, narrative, characterization, dialogue, and the differences between shorter and longer forms. Students gain an appreciation of the fiction writer's craft and an enhanced sense of the drama inherent in effective storytelling.
  • LI309 - Topics in U.S. Multicultural Literature: Harlem Renaissance (4 Credits)
    Course examines some of the major poetry, drama, fiction, and non-fiction (autobiography and essay) of one of the most celebrated African American and American arts movements: the Harlem Renaissance. An extension of post-slavery identity for African Americans, the Harlem Renaissance emerged from the intersection of rural and urban; traditional and modern; nationalistic and cosmopolitan; and black and white. We will pay particular attention to migration, inter- and intra-racial relations, the interplay of race, gender, class, and sexuality, and the phenomenon of passing. In addition, although our primary focus will be on written texts, we will also explore the influence of music (jazz and blues) and visual art on the literature and culture of the period.
  • LI311 - Topics in Global Literature: Place, Displacement, Memory in Exile Literature (4 Credits)
    Literature has traditionally been a welcoming space for people who, by choice or history, do not fit easily into the mainstream of society. This course will focus on the literature of writers who write from and about the position of an exiled "outsider," examining how literary art endeavors to contain, craft, and create that which is remembered. We will consider how narratives of recollection and forgetting produce the particular transport and recovery accessible through literary experience. Among the many questions to be raised, we will consider the ways in which literature can represent and reproduce the human, social, cultural, historical and political experiences of exile, whether an exiled individual experiences a forceful expatriation, a voluntary emigration, or even an internal exile. We will also consider the role that literature might play in creating a sense of community for immigrants, refugees, and other people living in various forms of exile.
  • LI324 - Latin American Short Fiction (4 Credits)
    Examines works by highly influential figures of the twentieth century. The authors this course considers absorb the experimental writing techniques associated with the avant-garde literary movements of the early to mid-twentieth century in addition to popular literary forms such as folklore, detective fiction, the fantastic, melodrama, new journalism, and magical realism.
  • LI361 - Native American Literature (4 Credits)
    Studies works in several genres, including consideration of how traditional myth, story, and ritual contribute to contemporary fiction and poetry, and how the literature reflects and responds to historical and contemporary conditions. May include such authors as Silko, Momaday, Ortiz, Harjo, and Erdrich.
  • LI371 - Shakespearean Tragedy (4 Credits)
    Carefully examines selected tragedies from Romeo and Juliet to Antony and Cleopatra, emphasizing the development of the tragic form.
  • LI382 - African-American Literature (4 Credits)
    Surveys African American literature (prose, poetry, and drama) from Olaudah Equiano through Toni Morrison and examines African American literature as part of the field of Diaspora studies. Also explores connections between African American and Caribbean American literatures conceived as literatures of the African Diaspora.
  • LI393 - American Novel 1 (4 Credits)
    Studies representative American novels written before the 20th century, including works by such authors as Cooper, Hawthorne, Melville, Stowe, Twain, Chopin, Wharton, and James
  • LI394 - American Novel 2 (4 Credits)
    Studies representative works of 20th-century American fiction. May cover authors from the first half of the century such as Anderson, Cather, Faulkner, James, Hemingway, Dreiser, Wright, Ellison, and Bellow as well as more contemporary writers such as Roth, Coover, Nabokov, Morrison, DeLillo, Burroughs, Momaday, and Silko.
  • LI396 - International Women Writers (4 Credits)
    Explores works by contemporary international women writers within their social and political contexts. Readings include work by such writers as Nadine Gordimer, Jamaica Kincaid, Michelle Cliff, Mawal El Saadawi, Bessie Head, Luisa Valenzuela, and others.
  • LI401 - Topics in Poetry: The Poetic Sequence (4 Credits)
    Special offerings in the study of prominent and emerging poets and schools of poetry. Emphasis on exploring the intersection between individual technique and aesthetic traditions, from the formal to the avant-garde to culturally and politically conscious expressions of the art. The course is principally concerned with poets writing in the English language, though important figures from other language traditions may be read in translation. May be repeated for credit if topics differ.
  • LI413 - The Forms of Poetry: Theory and Practice (4 Credits)
    Students study forms of poetry as used by historical and contemporary poets, and then write original poems in those forms (such as the sonnet, villanelle, haiku, sestina, syllabic, and renga), and genre forms (such as Surrealist, Expressionist, Anti-poem, Open Field, and Language poetry).
  • LI414 - After the Disaster: Post-War European Literature (4 Credits)
    Explores post-war European literary works that are marked by a profound sense of loss, disorientation, and pessimism, with a particular focus on the practices of close reading, textual analysis, and theoretically oriented criticism. Explores how the events of the war- most notably the Holocaust -affected the literature of Europe in their wake. Authors to be read include Primo Levi, Ruth Kluger, Marguerite Duras, Maurice Blanchot, Michel Houellebecq, and W.G. Sebald.
  • LI423 - Topics in Global Literature: Latin American Women Writers (4 Credits)
    Latin American Women Writers considers how women writers in Latin America, from the time of the Spanish colony to the present, have made radical innovations to the genres of poetry, autobiography, and fiction, always grounding their work in the specific time and place they inhabited.
  • LI423 - Topics in Global Literature: Transnational Englishes (4 Credits)
    This course explores the spread and diversification of English, its interactions with other languages, and its production and use in literature, politics, and everyday life. The course considers debates about "linguistic imperialism" and the "inevitability" of English as a global lingua franca, the complicated relations of power between metropolitan and other varieties of English, and the cross-fertilizations of English and other languages as literary, political, and cultural resources.
  • LI423 - Topics in Global Literature: Utopian, Dystopian, and Apoclyptic Fictions (4 Credits)
    "That's great, it starts with an earthquake" -R.E.M. This course takes early modern, romantic, and victorian visions of utopian worlds, 20th century dystopian visions, and some contemporary apocalyptic fictions. After dispensing some of the obvious allegorical questions about the function of these visions of "Brave New Worlds," we consider some of the more complex contours of utopian projects in opposition to dystopian and apocalyptic refutations and whether they are refutations at all. In particular we consider the idea of progress and futurity in the context of Marxist, postmodern, and poststructural theory. Possible texts may include More's 'Utopia', Cavendish's 'The Blazing World', Shelley's 'The Last Man', Orwell's '1984', Lawrence's 'Apocalypse', Atwood's 'The Handmaid's Tale', Ishiguro's 'Never Let Me Go', MacCarthy's 'The Road', selections of Kirkman's 'The Walking Dead', Mitchell's 'Cloud Atlas'.
  • LI424 - Imagining the Caribbean (4 Credits)
    When you think of the Caribbean, you may imagine: beaches, dancing, and leisure; pirates, curses, and hidden treasure; anti-slavery revolts and marooned communities; and labor movements and revolutions. It all depends on whose Caribbean you imagine. Making the Caribbean visible from local?as opposed to foreign?perspectives has been a pervasive concern of writers and artists from the anglophone, francophone, and hispanophone Caribbean in the last century. In this course, students examine the literary strategies used by writers to imagine the Caribbean and the literary cultural, and political products of these strategies.
  • LI436 - Cultural Criticism (4 Credits)
    Surveys the dominant theoretical approaches to the study of culture. The course traces their main arguments and helps students develop a sense of what it means to be a producer and a consumer of culture today.
  • LI481 - Topics in African American Literature: Afrofuturism (4 Credits)
    This course examines several genres of black speculative fiction, studying their historical trajectories and future projections, moving from W.E.B. Du Bois to digital diasporas. We will analyze how speculative fiction enables a writer and a reader to imagine new possibilities about race and society. Studying the principles of Afrofuturism, we will read novels, short fiction, and critical theory. At the end of this course you will be able to articulate and defend a working definition of Afrofuturism, drawing on a range of readings from critical analyses to short stories, to cultural theory, to canonical novels.
  • LI482 - Topics in Fiction: The Literature of Extremes (4 Credits)
    The course will examine some works of fiction that take as their main purpose the creation of extreme feelings, situations and states of mind. How does a writer create and sustain a state of heightened feeling that can then be transferred to the reader? Some authors we might study include the Marquis de Sade, Joseph Conrad, D. M. Thomas, A. M. Homes, J. K. Huysmans and Michael Herr.
  • LI612 - Topics in Poetry: Forms in Poetry (4 Credits)
    This class explores how poems are shaped by attention to metrical lineation and rhythm, stanza structure, and the forms of poetry from English forms such as blank verse and the sonnet, to highly repetitive modes like the villanelle, sestina, and Blues poem, to relatively recent, non-western imports such as the pantoum and ghazal, to more recent American forms like the contrapuntal poem. All poems, not just formal poems, require choosing and often discovering generative and expressive limits in order to secure a uniquely viable artistic shape, or as Robert Hass observes, 'the form of a poem exists in the relation between its music and its seeing.' All poems, including "free verse" poems, are formal in this regard. Emphasis therefore will be placed on writing with form, rather than inform?as though a form were a merely an empty template or vessel into which content is poured. Students in this class will read widely and liberally in the forms of poetry and will be pushed by the highest standards of the art, by me, and by each other, to write poems that exhibit a versatile working knowledge of structure, lineation, and measure. As a literature class you will be required to produce one or more substantial critical/analytic essays on some formal aspect of poetry.
  • LI615 - Topics in Multiple Genres and Hybrid Forms: Literature of Transcendence (4 Credits)
    Students will study writers such as Emerson, Thoreau, and Margaret Fuller through the lens of the Transcendentalists' journal The Dial (1840-44), which featured poetry and prose in a variety of forms. Attention will also be given to William Lloyd Garrison's anti-slavery weekly The Liberator and to African-American writers of the ante-bellum period such as Frederick Douglass and Charlotte Forten with New England roots and literary ties. Students will write a research-based essay and give a presentation on one writer's work or a topic of relevance to the period, and contribute their own writing to the online Dial created by the inaugural section of LI687 in 2012 at www.newdialmag.com. Writers in all genres are encouraged to join this class to support the diversity of our online publication.
  • LI615 - Topics in Multiple Genres and Hybrid Forms: Literature of Evil (4 Credits)
    An exploration of European literary works that are haunted by a sense of evil, as defined by Georges Bataille (whose Literature and Evil provides something of a framework for the course), with a particular focus on the practices of close reading, textual analysis and theoretically oriented criticism. Works include Emily Bronte's Wuthering Heights, Baudelaire's Flowers of Evil, Duras' Malady of Death, Houellebecq's Elementary Particles, and Sebald's Rings of Saturn.
  • LI615 - Topics in Multiple Genres and Hybrid Forms: Translation Seminar (4 Credits)
    This seminar will explore a number of issues inherent in translation, among them the translator's responsibility to the source text; the translatability of culture, music, and dialect; the ethics of translation, and others. The course will also function as a workshop where student translations will be discussed and critiqued. Students will be asked to write short 2-page weekly annotations on readings assigned. In addition, students will be asked to complete a translation project in poetry (10 pages, no more than one poem per page) or fiction (15 pages), with an introduction explaining the approach they used. A working knowledge of a second language is helpful but not essential.
  • LI615 - Topics in Multiple Genres and Hybrid: Native Northeast (4 Credits)

Lee Gutkind

Lee Gutkind, recognized by Vanity Fair as “the Godfather behind creative nonfiction,” is the founder and editor of Creative Nonfiction, and editor of more than 25 books. He is Distinguished Writer-in-Residence in the Consortium for Science, Policy & Outcomes at Arizona State University and a professor in the Hugh Downs School of Human Communication.

Gutkind has lectured to audiences around the world—from China to the Czech Republic, from Australia to Africa.  He has appeared on many national radio and televisions shows, including The Daily Show with Jon Stewart (Comedy Central), Good Morning America, National Public Radio’s Talk of the Nation and All Things Considered, as well as BBC World.

Gutkind is the recipient of grants and awards from many different organizations, from the National Endowment for the Arts to the National Science Foundation.

A prolific author, his most recent books include An Immense New Power to Heal: The Promise of Personalized Medicine and an anthology, At the End of Life: True Stories About How We Die.

His new book, You Can’t Make This Stuff Up, isdescribed by Susan Orlean, author of The Orchid Thief and Rin Tin Tin, as the “essential and definitive guide to creative nonfiction . . . engaging, useful, indispensable and inspiring.”

More About Lee Gutkind

As a motorcyclist, a medical insider, a sailor, a college professor, a mid-life father and a literary whipping boy, Lee has proved to be an unlikely success, as he explains in the explosive and hilarious essays collected in Forever Fat: Essays by the Godfather. His immersion experiences into the motorcycle subculture, the organ transplant milieu and in other heretofore un-mined worlds about which he has written books, including robotics, along with the compelling literary techniques he has developed, has helped to create a new paradigm for writing about the world—the “literature of reality” that is creative nonfiction.

In 1997 Vanity Fair Magazine proclaimed Lee “the Godfather” behind the creative nonfiction movement—an indisputable force whose efforts have helped make the genre the fastest growing in the publishing industry.

In 2004, to coincide with Creative Nonfiction’s tenth anniversary, W.W. Norton published In Fact: The Best of Creative Nonfiction. Booklist called In Fact “an electrifying anthology . . . an exciting and defining creative nonfiction primer.”

All of Lee’s books have been praised for being simultaneously personal and universally informative. His award-winning Many Sleepless Nights, an inside chronicle of the world of organ transplantation, has been reprinted in Italian, Korean and Japanese editions. An Unspoken Art, a profile of veterinary medicine, was a Book-of-the-Month Club selection. The University of Southern Illinois Press re-issued Gutkind's book (originally by Dial Press) about major league umpires, The Best Seat In Baseball, But You Have to Stand!, which USA Today called "unprecedented, revealing, startling and poignant."

Lee has pioneered the teaching of creative nonfiction, conducting workshops and presenting readings throughout the United States, Europe and Australia. He is a published novelist and an award-winning documentary filmmaker and served as a consulting editor at National Public Radio in Washington, D.C., teaching narrative techniques to reporters, producers and editors on the Science Desk.

Lee founded the creative nonfiction program and MFA degree in the genre—the first in the world—at the University of Pittsburgh. He helped found the low-residency MFA program in creative nonfiction at Goucher College and was director of the Mid-Atlantic Creative Nonfiction Writers’ Conference for 11 years. He is currently Distinguished Writer in Residence at the Consortium for Science Policy and Outcomes and a professor in the Hugh Downs School of Human Communication at Arizona State University.

For more information, please visit Lee Gutkind's website (www.leegutkind.com)

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