Schedule of Classes: English

Schedule of Classes: Film

Schedule of Classes: Writing

Winter 2017

Spring 2017

Winter 2017

Spring 2017

Winter 2017

Spring 2017

2017 Spring Graduate Course Descriptions

Course Name: ENG 454/554: Major Authors: To Hell and Back: Dante's Inferno
CRN: 59305
Instructor Name: Anderson, Chris
Time: M W F 1000-1050
Instructor Office Hours: M W F 1100-1150
Instructor Office Number (in Moreland): 324
Course Description:

A close reading of Dante's Inferno in relation to the rest of The Divine Comedy Dante's time and place. Our emphasis will be on the poem itself and the way it teaches us to read it as we go; on the political critique the poem makes; and on its profound religious ideas. We will also pay attention to the idea of allegory and the subtle ways Dante brings that form alive. Hell isn't so bad, when you know how to read it. In fact, it's great. Allegory isn't so stiff: Dante's can help us better understand our own lives and culture. Come and join us. In-class freewriting and three shorter essays. Translation: John Ciardi's, The Inferno, and also The Purgatorio and Paradiso.

*Pre 1800 Course

Course Name: ENG 475/575: Studies in Criticism: Contemporary Eco-Theory
CRN: 59306
Instructor Name: Gottlieb, Evan
Time: M W F 1100-1150
Instructor Office Hours: M W F 1000-1050
Instructor Office Number (in Moreland): 362
Course Description: What does ecological theory look like today -- that is, in our era of posthumanism and the Anthropocene? This course will introduce you to some of the most cutting-edge writing regarding the conceptual, behavioral, and institutional paradigm shifts needed to meet the challenges of a rapidly warming planet. We will focus on theorists and novelists who question some of the basic tenets of Western thinking: the subject-object dichotomy, capitalism as the end of history, human rights as innately given, and the very concept of nature itself. Clearly, the old ways of thinking will no longer suffice; business as usual is not an option. Theorists to be studied include Stacey Alaimo, Felix Guattari, Donna Haraway, and Timothy Morton; we'll also read eco-disaster novels by Margaret Atwood and Jeff Vandermeer.
Course Name: ENG 488/588: Literature and Pedagogy
CRN: 59309
Instructor Name: Helle, Anita
Time: T R 1600-1720
Instructor Office Hours: TBA
Instructor Office Number (in Moreland): 244
Course Description:

Literature and Pedagogy is designed for students who may be interested in teaching college or secondary literature and culture courses in postmodern learning environments.
The course focuses on the following questions:
· What “knowledges” does the study of literature propose?
· How can reading strategies promote the engagement of real readers (as opposed to hypothetical, “ideal” readers) in classrooms?
· How can reading/writing connections be more fully integrated into the teaching of literature?
· What are some current and traditional “best practices” for designing literature courses and curriculum?
· What is the future of integrating new media ecologies and visuality in the study of literature in the classroom?
The course will incorporate literature “workshops” designed to be scaled up or down for working with students at different levels. We will be engaged in working between theory and practice in a variety of literary and ancillary fields (narrative and cognitive theory, cultural and visual studies, reception theory, curricular theory and practice)

Course Name: ENG 498/598: Women and Literature
CRN: 59311
Instructor Name: Helle, Anita
Time: T R 1000-1120
Instructor Office Hours: TBA
Instructor Office Number (in Moreland): 244
Course Description: The writing of Virginia Woolf and Toni Morrison has been linked thematically, aesthetically, and politically through a variety of critical lenses (feminist and cultural theory, modernism, postmodernism, to name only a few). Morrison has explicitly acknowledged Woolf’s influence in the development of fictional techniques. Each write’s work (fiction and non-fiction) has been associated with explorations of trauma and social violence, structures of dominance, narrative complexity, linguistic innovation, and conceptions of beauty. I hope this will be a productively incongruous pairing, an opportunity to explore multiple fruitful intersections of comparative modernisms. This course is numbered as an undergrad/grad section, and there will be plenty of reading (5-6 novels and short essays). Coursework includes lively participation in our ongoing discussion. For graduate students, an individual presentation or panel on substantive works of literary theory and/or cultural history, and a paper of middling length will be due at the end. Creative writers will have the option, for the midterm essay assignment, of practicing a fictional technique theorized by the “maker” on one condition— the work could not have been conceived or executed outside the context of the course. Required coursework will also include traditional literary interpretive essay. A full range of textual interpretive theory is welcome, as are interests in relationships among literature, media and visual culture in mainstream modernist and minoritized contexts.
Course Name: ENG 512: Studies in British Theater and Society: Travel & Theater in Early Modern England
CRN: 59312
Instructor Name: Barbour, Richmond
Time: M W F 1500-1550
Instructor Office Hours: TBA
Instructor Office Number (in Moreland): 322
Course Description:

Approaching the theaters of London in Shakespeare’s day as sites of vicarious exposure to the exotic worlds that English and other European mariners actively engaged in a growing traffic, we will juxtapose several plays to various prose narratives in Richard Hakluyt’s great compilation of voyage journals, The Principal Navigations of the English Nation (1598-1600), and other sources. Weighing various forms of publication (manuscript, print, shows), we will ask how fictions penned for London’s popular audiences take inspiration, yet differ importantly, from testimony produced by actual travel and often drafted for internal corporate, not public, consumption. We will ask how the corporate archive, the printing house, and the playhouse fostered and critiqued global ambitions in early modern England. Works of scholarship informed by post-colonial and cultural-materialist theory will be included on the syllabus. Students will be expected to write two research papers, deliver an oral presentation, keep pace with the readings, and contribute to discussion.

*MA Experience

Course Name: ENG 545: Studies in Nonfiction
CRN: 57729
Instructor Name: Passarello, Elena
Time: W 1800-2050
Instructor Office Hours: T R 1500-1600
Instructor Office Number (in Moreland): 342
Course Description:

This graduate craft course will examine the use of nonfiction tactics like transcripted interview, research, implication of artifact, and personal account into works of live performance. We will read and discuss texts including Lisa Kron's 2.5 MINUTE RIDE, Blank and Jensen's THE EXONERATED, Rickman and Viner's MY NAME IS RACHEL CORRIE, Moises Kaufman's GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE, Anna Deveare Smith's TWILIGHT: LOS ANGELES 1991, Mike Birbiglia's SLEEPWALK WITH ME, and excerpts from El Teatro Campesino and the MOTH storytelling project. Assignments will include exercises in storytelling, dramatic interview, and scene creation, as well as a group final project, for which the class will research and construct interview-based one-act play in the style of THE LARAMIE PROJECT.

*Craft Course

Course Name: FILM 480/580: Studies in Film, Culture, and Society
CRN: 56812
Instructor Name: Lewis, Jon
Time: T 18:00-22:00; Th 16:00-20:00
Instructor Office Hours: T 12-2
Instructor Office Number (in Moreland): 312
Course Description: This class offers an interdisciplinary approach to the subject of youth culture. Students should learn a number of parallel critical approaches central to the following disciplines: film and media studies, sociology, and psychology. Also in play is the critical reading of texts on youth culture: films and novels as well as sociological and psychological studies.

1. Film and media studies: The class offers about twenty films focusing on youth culture. Students are encouraged to “read” these works as re-presentations of lived experience, translations of teen life as it is lived in the U.S.
2. Contemporary literature: Readings and discussion of 4 novels about teenagers.
3. Psychology: This course offers an introduction to adolescent psychology, especially the psycho-social approach popular in the 1960s when youth culture first became a subject of real interest in the psychological community.
4. Sociology: Students will learn to read (and interrogate) so-called empirical data
Course Name: WR 420/520: Style and the Sentence
CRN: 55759
Instructor Name: Jensen, Tim
Time: M W F 1500-1550
Instructor Office Hours: M W 1030-1200
Instructor Office Number (in Moreland): 204B
Course Description: This course will study the sentence on various levels and using multiple approaches. We'll approach sentences like architecture, examining the interaction between structural elements and overall design. We'll dissect and diagram sentences with a steady hand as if we were anatomists. We'll enhance our aesthetic and sensorial appreciation of sentences through rigorous study of the environmental factors that influence their character and quality, just as a sommelier studies viticulture to add complexity and depth to the appreciation of wine. Most importantly, perhaps, we'll study the craft of sentences by crafting them ourselves, developing skills through regular practice, varied exercises, and scaffolded projects.

Successful students will leave the course with an improved understanding of syntax and grammar; heightened awareness of the relationship between sentence structure and clarity of communication; an expanded critical vocabulary for discussing style; and stronger skills in craft
Course Name: WR 521: Teaching Practicum: Fiction Writing
CRN: 52703
Instructor Name: Dybek, Nick
Time: R 1730-1820
Instructor Office Hours: T R 1120-1220
Instructor Office Number (in Moreland): 204A
Course Description: Enrollment in this course is limited to GTAs who are currently teaching WR 224
Course Name: WR 522: Teaching Practicum: Poetry Writing
CRN: 60030
Instructor Name: Holmberg, Karen
Time: T 17:30-18:20
Instructor Office Hours: M 11-12
Instructor Office Number (in Moreland): 350
Course Description: In WR522, Poetry Teaching Practicum, students will prepare teaching materials (syllabus, reading packets, guideline sheets, exercises, and workshop strategies) necessary to teach WR241: Introduction to Poetry Writing. Students also will develop and articulate a statement of teaching philosophy for the teaching of poetry writing. Practical matters of the course include: choosing readers and handbooks; designing poetry assignment guidelines and relevant exercises; work-shopping strategies; commenting on student work; teaching prosody and close reading skills; assessing one’s course.

This class is offered every spring, and must be taken by any poetry MFA student who wants to teach poetry writing in their second year. 1 credit.
Course Name: WR 524: Advanced Fiction Writing
CRN: 50635
Instructor Name: Dybek, Nick
Time: R 1400-1650
Instructor Office Hours: T R 1120-12:20
Instructor Office Number (in Moreland): 204A
Course Description: WR 524 is a graduate-level fiction workshop. We will discuss student fiction (and occasionally published fiction) with an eye towards answering two essential questions. First, what experience is this piece of fiction asking us to have? And second, how can that experience be made more potent or successful upon revision? This term we'll pay special attention to the aesthetics of style and form in the short story. Students will be asked to find and identify confluences in their own work and the work of their peers with music, painting, film and a number of other artistic mediums. Graduate standing in the Fiction MFA Program required.
Course Name: WR 540: Advanced Nonfiction Writing
CRN: 55760
Instructor Name: Estreich, George
Time: M 1800-2050
Instructor Office Hours: M 0900-1000
Instructor Office Number (in Moreland): 208
Course Description: WR 540 is a writing workshop in creative nonfiction. Our main work will be close reading and discussion of student drafts, but we will also discuss published essays from writers both classic (Montaigne, Baldwin, Didion, and so on) and contemporary (Biss, Knausgaard, Jamison, among others.) We'll also read and discuss brief articles on the theory and practice of nonfiction. Beyond giving you specific, practical help with your writing projects, my hope is to provide a space in which you can not only hone your understanding of contemporary nonfiction in general, and your kind in particular: to develop a map of the (vast) territory, and think about where you might live. Texts, some available online, to be announced.
Course Name: WR 541: Advanced Poetry Writing
CRN: 51976
Instructor Name: Richter, Jennifer
Time: T 1400-1650
Instructor Office Hours: T 1200-1400
Instructor Office Number (in Moreland): 204D
Course Description: WR 541 is the MFA workshop: a course focused on rigorous discussions of both student work and published collections.

During the term, we'll read three books of contemporary poetry linked by a common theme, voice, or structure; we'll study these as models and inspiration for what's possible in your thesis and subsequent collections. You'll also have the valuable opportunity to talk with one of the published poets about his/her work and process.

Note: enrollment in this course is limited to graduate students who have been accepted into Oregon State University's Master of Fine Arts program in Creative Writing.
Course Name: WR 599: Composition Pedagogy (1st Year MFA Only)
CRN: 59320
Instructor Name: Pflugfelder, Ehren
Time: T R 1000-1120
Instructor Office Hours: T R 1130-1230
Instructor Office Number (in Moreland): 212
Course Description:

In WR 599, Composition Pedagogies, we'll study current composition pedagogies and the assumptions that are built into different methods of teaching writing. This course is designed for MFA students who want to know more about the many ways that composition is taught for different populations of students in different locations. Students will learn about both dominant and emergent methods for teaching writing, including approaches that focus on basic writing, cultural studies, genres, new media, the online courses and more. We'll also think about the bigger picture of writing pedagogy and determine what the threshold concepts are for teaching writing to college students. Coming out of this class, you'll be better prepared to teach and evaluate your students writing and get the chance to build materials for future courses.

*Pedagogy Course