We look forward to seeing you in Spring Term of 2024. As you can tell from the lineup below, there are many exciting learning opportunities ahead. To get started, you can use this page to read course descriptions for the upcoming term and grab contact information for our Advisor, Liddy Detar.
We encourage you to read these descriptions carefully and reach out to course instructors or your advisor with any specific questions.
AJ 312
ADVANCED MEDIA STORYTELLING
Section: 1 CRN:34077
TR 10-11:20 am
This class will operate like a living, breathing newsroom in which students are reporters. We will, above all, cultivate a spirit of curiosity. We will consider how our own varied interests and backgrounds – as scientists, artists, writers, engineers, fans of cooking or skydiving, as people with experiences from across the state, nation and world - might inform the reported stories we choose to pursue as journalists. Together we will read and discuss stories from local and national publications including The New York Times, The Washington Post, The Oregonian, and NPR. Students will pitch, report, and write stories of their own. We will primarily produce written stories, but there will be opportunity to work in other forms (photojournalism, audio, and video) for those who are interested.
Prerequisite: Minimum grade of B in AJ 311
ENG 101
INTRO TO LITERATURE: YOUNG ADULT NOVEL
Section 400 CRN: 38988
Ecampus
Over the past two decades, the young adult literary novel has quickly become the fastest-growing genre trend in fiction, thanks in part to the award-winning work of such authors as S.E. Hinton, Jason Reynolds, John Greene, Rainbow Rowell, and Nikki Grimes. Of all genres of literature, Young Adult Fiction most explicitly explores themes such as sexuality, identity, social justice, and social media that are currently relevant to college students. Analyzing these novels in an introductory literature class will allow students to think critically about the types of literature many of them are reading on their own. The class will also uniquely prepare students who intend to teach young adult literature in primary education. Weekly lectures describe how the culturally distinct literary works of Young Adult authors develop elements of craft including characterization, significant detail, dialogue, voice, point of view and theme. The online course will make use of lectures, readings and videos, online discussions, quizzes and reading checks, combining approximately 90 hours of instruction, online activities, and assignments for 3 credits.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 104
INTRO TO LITERATURE: FICTION
Section: 1 CRN: 30656
MWF 1-1:50 pm
This course reverses the notion that humans invent stories and posits that storytelling invents humanity. The premise of the course is that what we call the “human” is a negotiable designation that changes over time, constructed of boundaries that are susceptible to imaginative interventions. We’ll focus on particular types of stories—literary fiction of the last century or so, but biased toward more recent decades—featuring characters and situations that violate these boundaries and that do not play by the rules of our expectations regarding either “humanity” or “fiction.” We’ll read short stories and novels by authors like Kazuo Ishiguro, George Saunders, Margaret Atwood, William Gibson, Richard Powers, and Ursula K. Le Guin.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION A STUDY OF THE SHORT STORY
Section: 2 CRN: 36079
TR 2-3:20pm
What is a short story? The first thought that comes to mind is probably a story that’s short. But this definition is reductive, one with which many critics have disagreed. E.M. Exjebaum, for example, describes the short story as “a bomb dropped from an airplane” that strikes “its war-head full-force on the target.” For Exjebaum and many others, the short story is so much more than a story that’s merely short. This course offers students a rigorous examination of the artform as it developed artistically and generically over the past two centuries. Primary readings include stories from Edgar Allan Poe, Anton Chekhov, Virginia Woolf, Flannery O’Connor, Ernest Hemingway, Raymond Carver, and Jorge Luis Borges. Secondary readings include essays from Charles E. May’s The New Short Story Theories (1994).
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION
Sections: 400 /401 CRN: 31918/35186
Ecampus
How do stories shape us? How does fiction create or reflect the culture and historical moment in which they are written? Why do we (or why should we) read literature at all? In this class, we will build answers to these foundational questions. Using a critical lens, we will work to understand both the implied and stated meaning of short stories from across the last two centuries, as well as developing our knowledge of the key elements of fiction. We will discuss these stories in small and large groups, learn about the authors and the historical context in which they were written, and analyze them for a richer understanding and appreciation.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION
Section: 402 CRN: 38989
Ecampus T
his course proceeds on a notion raised by literary critic Lionel Trilling: that a central task of literary fiction is to reveal “the human fact” within “a world of circumstance.” Here, we will read and discuss numerous works of short fiction with the aim of cultivating an awareness of writerly craft and “the human fact” it seeks ever to convey. We will familiarize ourselves with the basic elements of narrative—character, setting, plot, symbolism, theme, structure, style, tone, and so forth. Overall, we’re concerned with thinking about how different writers seek to convey “the human fact” as a timeless, universal condition and as something shaped by the specific contexts— social, cultural, historical, etc.—in which these stories are set and in which they were written. We’re also concerned with the significance of the text at the time of its reading, i.e., how it is relevant to us in the current moment of 2024.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 106
INTRO TO LITERATURE: POETRY
Section: 2 CRN: 34228
TR 12-1:20 pm
You’ll be introduced to a variety of published voices from the past and present; you’ll study the basic craft elements of poetry including detail, imagery, voice, and lineation; you’ll practice your close reading skills to become a more skilled and confident reader of poetry; and you’ll establish a routine of checking in with your emotions and deepening your sense of empathy.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 106 I
NTRO TO LITERATURE: POETRY
Section: 400 CRN: 32139
Ecampus
Offers a broad introduction to the genre of poetry. Encourages students to be more skilled and confident readers of poetry by introducing core concepts, showcasing dynamic living poets, and giving students the opportunity to compose in a personal creative process.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 106
INTRO TO LITERATURE: POETRY
Section: 401 CRN: 38990
Ecampus
Offers a broad introduction to poetry. Encourages students to be more skilled and confident readers of poetry. Develops an understanding of poetic craft by studying the basic elements of poetry, including detail, imagery, voice, and lineation. Considers how contemporary poetry is in conversation with poems in the American literary tradition.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 108
INTRO TO SCIENCE FICTION AND FANTASY
Section: 400 CRN: 38991
Ecampus
The roots of science fiction and fantasy lie in myth, folklore, and fairy tales. While we begin with these origins, we will focus on modern and contemporary science fiction and fantasy in print. The course introduces students to a range of voices and formats in these genres. Accordingly, we’ll start with a contemporary graphic novel and end the course with a recent sci-fi/ fantasy novel. In between, we’ll study sci-fi and fantasy stories by both well-known and now-forgotten authors, including H.G. Wells, Isaac Asimov, Philip K. Dick, Ursula Le Guin, Octavia Butler, and Ted Chiang.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 202
SHAKESPEARE
Section: 1 CRN: 37231
MW 10-11:50 am
This course is an introduction to the second half of Shakespeare’s career. In it, we will focus on close-reading Shakespeare’s language and analyzing his poetry within its cultural, historical, and literary context as well as considering how these texts are read and made relevant today. We will read four plays and will focus on problems of genre and form, class and race, nation and empire, gender and sex, and material textual history as well as performance theory. Class will include discussion, lecture, readings, and viewings.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 205
SURVEY OF BRITISH LITERATURE: RESTORATION TO ROMANTIC ERA
Section: 1 CRN: 33240
TR 10-11:50 am
This course presents a chronological survey of British Literature from the Restoration through the Romantic age. We will consider the cultural, historical, and intellectual contexts of the writers we study, as well as issues of influence and inheritance. By reading broadly in British poetry and prose, the student will gain an appreciation of the movements within the history of modern literature in English, practice close reading and interpretive skills, and refine their understanding of literary forms and structure. Readings include the Metaphysical Poets, Milton’s Paradise Lost, 18th century women writers such as Mary Wortley Montagu and Mary Wollstonecraft, and select Romantic writers. We will use Mary Shelley’s Romantic novel Frankenstein as a contextualizing lens for studying the Romantic period, focusing on the numerous writers it quotes or alludes to such as Milton, Wordsworth, Coleridge, and Percy Bysshe Shelley. Student will be evaluated based on weekly reading responses, two exams and a final essay.
Bacc Core, Perspectives - Western Culture (CPWC) Liberal Arts Humanities Core (LACH)
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ENG 212
LITERATURES OF THE WORLD: MESO/SOUTH AMERICA/CARIBBEAN
Section: 1 CRN: 37283
MW 12-1:50 pm
How is Latin American identity imagined and negotiated in prose and poetry? How do Latin American cultural texts use style to explore and contest relationships between self, community and world in the context of imperialism, dictatorship, and economic, racial and gender inequalities? We will address these questions through close reading of 20th-century texts from across the diverse geopolitical landscapes of the Americas. In addition to examining the ethical and political dilemmas proposed by Latin American artists, we will practice meaningful literary engagement with these texts and one another. While we read in translation, we will think through language and power. As this is an introduction, no prior knowledge of Latin American literature is needed.
Bacc Core, Perspectives - Cultural Diversity (CPCD) Liberal Arts Humanities Core (LACH) Liberal Arts Non-Western Core (LACN)
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ENG 214
LITERATURES OF THE WORLD: EUROPE
Section: 1 CRN: 35437
MW 2-3:50 pm
This course presents the student the opportunity to study some of the most aesthetically and socially influential literature to issue from the European Continent and Russia during the 19th and 20th centuries. All texts are read in English translations. We will first study a selection of works from 1820’s to 1890’s, such as Nikolai Gogol’s “The Overcoat,” Honoré Balzac’s Grandfather Goriot, Gustave Flaubert’s Madame Bovary, or Ivan Turgenev’s A Sportsman’s Sketches; the “decadent” poetry of Charles Baudelaire’s Flowers of Evil, or the feminist social critique of Henrik Ibsen’s A Doll’s House. We will situate such works within the movements of Romanticism, Realism, Naturalism, Symbolism, and Impressionism, and discuss how these aesthetic conventions attach to political ideologies, such as Royalist, Liberal Humanist, or Socialist. In this way we will investigate how they also inscribe or confront 19th-century Western assumptions surrounding race, gender, class, and metaphysical truths. For our study of 20th century, we will focus on some of the most provocative, innovative, and politically radical fiction to issue from these cultures. Authors to be studied here might include: Italian Modernism (Italo Svevo), German Expressionism (Franz Kafka), French Existentialism (Albert Camus) Soviet dissidence (Boris Pasternak), and Postcolonial/Feminist/Nouveau-Roman (Marguerite Duras). We will also place works studied within the broader categories of Liberal Humanist, Socialist/Existentialist, Postmodernist, and Postcolonial. In doing so, we will engage the discourses of the individual human subject, race, gender, class, and religion through a 20th century lens. Students will be evaluated through a mid-term exam, term paper, and in-class final. From Balzac’s famous Realist assertion “Tell me what you own and I’ll tell you how you think,” to Ibsen’s insistence on the unconventional person as prophet (“a minority might be right, and a majority is always wrong”) to Kafka’s humanely sensitive cockroach, to Duras’ postcolonial exotic lover, this material represents some of the most important Western literary works, which have now become otherwise unavailable for study in courses across our campus.
Bacc Core, Perspectives - Western Culture (CPWC)
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ENG 215
CLASSICAL MYTHOLOGY
Section: 400 CRN:39288
Ecampus
Retellings of stories from ancient Greece and Rome tend to celebrate heroes: Hercules, Theseus, Achilles, Aeneas. This class flips the script and instead foregrounds the losers in Classical mythology—the gods, individual humans, civilizations, and monsters that are conquered in some of the most foundational stories of Western culture.
Bacc Core, Perspectives - Western Culture (CPWC) Liberal Arts Humanities Core (LACH)
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ENG 220
DIFFERENCE, POWER AND DISCRIMINATION: SEXUALITY IN FILM (crosslisted with FILM 220)
Section: 1 CRN: 34078
MWF 9-9:50 am M 6-8:50 pm
Non-binary. Genderqueer. Cis-male, pan and trans. How are sexualities constructed within contemporary cinema—and how do those constructions affect how viewers interact with actual human beings? That’s the central question for ENG/FILM220 students, as we closely analyze an array of films depicting intersecting sexualities for multifarious political and libidinal ends. Because decoding the distribution of difference within any cultural venue is central to each Difference, Power and Discrimination course, participants in Sexualities & Film do not merely evaluate the intersection of different sexualities—they will explore how these sexual subject positions are represented as further intersecting with other subjective vantage points, like class, race and age. Along with learning how to closely read films, students make connections with diverse and sometimes oppositional critical theories, including but not limited to psychoanalytic, feminist, (post)feminist, post-structural and queer theories. This transdisciplinary interlacement will serve as the basis for a generous amount of research, writing, group discussion and personal reflection.
Bacc Core- Difference, Power, and Discrimination (CPDP) Liberal Arts Humanities Core (LACH)
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ENG 221
AFRICAN AMERICAN LITERATURE: LITERATURE OF THE JAZZ AGE
Section: 400 CRN: 37332
Ecampus
Between WWI and the stock market crash of 1929, significant changes took place within the African American community. Urbanization, industrialization, and the migration of six million black southerners to northern states introduced a “New Negro” whose art, literature, and music came to define an era now referred to as the Harlem Renaissance. Foremost among these emerging art forms was jazz music, an exciting but controversial new sound out of New Orleans, Louisiana based on syncopated rhythms and improvisation. The hallmarks of this new sound can also be applied to the literature of the era as writers and their characters would improvise unprecedented expressions of blackness and black identity that were sometimes “out of rhythm” with their post-Victorian worlds. This course examines 1920s culture, the early reception of jazz music, its relationship to literature, and the major figures of the Harlem Renaissance.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 222
CHILDREN’S LITERATURE
Section: 001 CRN: 38923
F 10-11:50 am Hybrid (both on-site meetings and online component)
Children’s literature has become a political battlefield. Governors and legislators argue over what should count as children’s literature, what its purpose should be, and what literature children need to be “protected” from—questions that used to be asked more by parents and librarians. But these are not new questions, even if the debate around them has recently become more frantic. Embedded in these discussions are cultural understandings of what “childhood” even is. With a focus on close reading, we’ll look at the historical arc of children’s literature, from the “walled gardens” of the nineteenth century to the dystopias of the twenty-first century. We’ll look at a range of primary sources across decades, including some of the children’s literature housed in the OSU Library’s Special Collections. We’ll look at how conceptions of childhood have changed over time, shaped by and shaping the literature produced for children. We’ll consider who gets to decide where and how the boundaries around this genre are defined, and we’ll look at how children’s literature works as a powerful tool to reinforce or challenge systems of power within a culture.
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ENG 253
SURVEY OF AMERICAN LITERATURE: COLONIAL TO 1900
Section: 400 CRN: 36860
Ecampus
This course introduces students to a body of works known as early American literature and covers works from about the 17th to the 19th century (a few selected works will be notably earlier or later). We will pay close attention to how the ideologies of “an American identity” were formulated and contested through diverse voices and experiences by covering genres such as travel writings, settler narratives, sermons, poetry, slave narratives, political writings, maritime literature, fiction, short stories, drama, and history. We will also examine the dynamics of early environmental writings and their implications in the policies and politics of land appropriation, capitalism, labor, the Enlightenment, and American exceptionalism.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 260
LITERATURE OF AMERICAN MINORITIES
Section: 1 CRN: 39370
TR 2-3:50 pm
This course explores the ways in which 20th and 21st century American Literatures and theorizations of difference inform and offset one another. It introduces central figures of American thought and literature, including major works encompassing multiple forms of difference by authors such as W.E.B. DuBois, Gloria Anzaldúa, David Henry Hwang, and Edward Said. We will study the ways “minoritized” authors weave newness and variation into American literatures and challenge longstanding narratives. The course readings will help generate questions about literary creations and human experiences. We will reflect on the human conditions that emerge across cultural boundaries and historical periods. The course explores literary works in their social context, especially with a critical examination of power structures. Insights will be applied to issues in communities beyond the classroom. As such, some guiding questions for the course are: How does difference emerge from literary texts? How do readers engage with unique or unfamiliar texts and forms without creating hierarchies or repeating colonialisms? What ideas about confronting the normalization of racism, sexism, homophobia, and classism can be learned from writers of the 20th century and recent past?
Bacc Core- Difference, Power, and Discrimination (CPDP) Liberal Arts Humanities Core (LACH)
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ENG 301
WAYS OF READING
Section: 001 CRN: 39369
MW 12-1:50 pm
What’s the difference between reading a book for pleasure and reading it for a class? What kinds of skills are necessary for upper-level work as an English major? What exactly is literary criticism? Pursue these questions by studying a selection of texts paired with works providing historical and critical context. Learn how to think and write like a literary critic by reading carefully, discussing these works in class, and writing analytical essays.
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ENG 302
WRITING ABOUT LITERATURE
Section: 1 CRN: 35438
MW 12-1:50 pm
WIC
This course will demystify the conventions of academic writing in the English major, with the goal of developing original textual interpretations and situating those interpretations in relation to secondary sources. In doing so, we will develop an understanding of a broader scholarly conversation by writing about issues of difference, including but not limited to categories of gender, race, ethnicity, sexuality, class, and ability. In tandem with one-credit library lab co-requisite (ENG 200), we will practice evaluating scholarly resources, including secondary sources and archival research.
A minimum grade of D- is required in ENG 301.
Bacc Core, Skills – Writing Intensive Courses (CWIC)
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ENG 318
AMERICAN NOVEL: MODERNIST PERIOD
Section: 400 CRN: 38992
Ecampus
Focusing on some of the prominent thematic, stylistic, historical, and cultural aspects of American modernism, this class will combine famous classics with important novels other than the ones commonly perceived as canonical. Through close textual analysis and active participation in ongoing discussions, we will examine novels that have paved the way for previously silenced voices, paying attention to the rise of nontraditional authors, characters, literary strategies, and subject matters.
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 319
AMERICAN NOVEL: POST WWII
Section: 1 CRN: 38924
TR 12-1:50 pm
In this course we will analyze five novels written since 1945, with a particular eye towards the representation of “haves” and “have-nots.” In works by such authors as Toni Morrison, Richard Yates, and Ling Ma, we’ll explore how the lenses of class, wealth, poverty, privilege and consumption both reduce and complicate basic notions of success, failure, and belonging in America. Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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ENG 340
LITERATURES OF THE COAST
Section: 1 CRN: 38925
MW 2-3:50 pm
During the first half of the course, we will examine artistic depictions of coastal living through the following interrelated questions: 1. What is a coastal community and how does it differ from other communities within and beyond the United States? 2. What it is like to be an aquatic ‘other’? How can we imagine the lives of animals far removed from our own? 3. How have artists engaged with pressing environmental, economic, and social problems of coastal communities, including climate change, overfishing, and environmental pollution? In the second half of the course, students will work in small groups to create graphic narratives designed to answer some of these questions for themselves. These stories may be based in part upon materials collected during a field trip to Newport, OR.
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ENG 465
STUDIES IN THE NOVEL - BACK TO THE FUTURES: SCIENCE FICTIONAL THEMES AND TROPES, 1700-2020
Section 2 CRN 38726
MW 8-9:50
Projects Based Course This course will explore the evolution of English-language science fiction from its modern beginnings in the 18th century to the present day. We will do so via four units, each corresponding to a time-honored science fictional theme or trope: Improbable Adventures, From Creatures to Cyborgs, Time Travel, and Alien Invasions. Each unit will consist of three novels: an “origin story” from the 18th or 19th century, a “classic” from the mid-20th century, and a contemporary spin on the form. At every turn, we’ll examine how these novels not only reflect their historical circumstances – from the South Seas Bubble through the Cold War to postcolonial postmodernity – but also use the evolving creative affordances of science fiction to imagine alternatives to the present. Some will be (seriously) satirical, others will be (laughably) earnest; all will be as much about their presents as our futures. The reading load will be heavy (so get started as soon as possible!) but highly entertaining and thoughtprovoking. As a projects-based course, grades will be based on a combination of attendance/ participation and group-based, public-facing endeavors that we’ll decide upon as a class.
Sophomore standing; 8 credits of ENG 200-level or above. Liberal Arts Humanities Core (LACH)
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ENG 480
STUDIES IN LITERATURE, CULTURE AND SOCIETY
Section 1 CRN 39433
TR 10-11:50 am
Post 1900 Islands and archipelagos have long been disparaged for their openness, blending, and fluidity. Around the globe today, this form of continental thinking continues to provoke nationalist policies and efforts to curb human migrations and refugee movements. This course reconsiders these ideas. Archipelagic perspectives respond to urgent calls to rethink theoretical frames, ways of being, and forms of knowledge established and perpetuated by European colonial projects. As such, we will begin to think archipelagically. We will read and view texts about or set on islands, as well as texts that directly engage the concepts of archipelagos and archipelagic thinking. The authors and texts will be multilingual and from different parts of the world including Rosario Ferré, Édouard Glissant, Katherine McKittrick, Craig Santos Perez, Audra Simpson, and Ai Weiwei. The course will include discussion of how practices of language, translation, and multilingualism are lived and theorized archipelagically. Our goal is to explore and practice archipelagic thinking, discuss how archipelagic thinking may help us recognize an archipelagic poetics, and how this perspective engages decolonial epistemologies. Early archipelagic research was part of what has been described as the spatial turn, an organization of studies which can be understood as “above all, an attack upon grand narratives of modernity, colonialism, and development” (Pugh 12). Openness to a broad selection of concepts and theories is important because colonial histories remain present-day realities which continue to impact island societies and cultures. Amidst widespread global migration, increased human mobility, and critical geographies, we will ask how archipelagos can help us read, discuss, and understand literatures in a post-national era, as well as help us navigate continental borders and understand contemporary globalization.
Sophomore standing; 8 credits of ENG 200-level or above. Liberal Arts Humanities Core (LACH)
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ENG 485
STUDIES IN AMERICAN LITERATURE: MANIPULATING TIME IN NARRATIVE
Section: 1 CRN:36565
MW 4-5:20 pm
WIC/Hybrid (both on-site meetings and online component)
In this WIC class specifically offered for creative writing majors, we’ll explore how time is manipulated to tell a better story and how narrative dramatizes those moments in our lives when we feel we’re living in the past, present, and future all at once. We’ll read novels and short stories that collapse, compress, fragment, and reverse time asking why these authorial choices make a more compelling story and more effectively reveal lived experience and perception. In writing exercises and a final project you’ll model your own narratives on the published work we’re reading. The final reading list is TBD but will be chosen from the following: The Art of Time in Fiction: As Long as it Takes, Joan Silber Black Water, Joyce Carol Oates Time’s Arrow, Martin Amis A Gathering of Old Men, Ernest Gaines The Sweet Hereafter, Russell Banks Chronicle of a Death Foretold, Gabriel Garcia Marquez Kindred, Octavia E. Butler Jazz, Toni Morrison Einstein’s Dreams, Alan Lightman Innocents and Others, Dana Spiotta Further readings will be posted to Canvas. Sophomore standing; 8 credits of ENG 200-level or above .
Bacc Core, Skills – Writing Intensive Courses (CWIC) Liberal Arts Humanities Core (LACH)
FILM 125 I
NTRODUCTION TO FILM STUDIES, 1945-PRESENT
Section: 001 CRN: 34936
TR 10-11:50am T 6-9:50 pm
An exploration and examination of American cinema, 1942- 1968. Of particular interest are the important films and filmmakers of the era as well as key events in American (and more narrowly, Hollywood) cultural history. Weekly screenings to include Casablanca, The Searchers, Some Like it Hot, Bonnie and Clyde, The Graduate, and 2001: A Space Odyssey.
ENGF - $20.00 Flat Fee
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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FILM 145
INTRODUCTION TO FILM STUDIES, 1968-1999
Section: 400 CRN: 35727
ECampus
Explores and examines American and European cinema, 1968- 1999. Emphasis on important films and filmmakers of the era as well as key events in American and European cultural history.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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FILM 220 DIFFERENCE, POWER AND DISCRIMINATION: SEXUALITY IN FILM (crosslisted with ENG 220)
Section: 1 CRN: 34935
MWF 9-9:50 am M 6-8:50 pm
Non-binary. Genderqueer. Cis-male, pan and trans. How are sexualities constructed within contemporary cinema—and how do those constructions affect how viewers interact with actual human beings? That’s the central question for ENG/ FILM220 students, as we closely analyze an array of films depicting intersecting sexualities for multifarious political and libidinal ends. Because decoding the distribution of difference within any cultural venue is central to each Difference, Power and Discrimination course, participants in Sexualities & Film do not merely evaluate the intersection of different sexualities—they will explore how these sexual subject positions are represented as further intersecting with other subjective vantage points, like class, race and age. Along with learning how to closely read films, students make connections with diverse and sometimes oppositional critical theories, including but not limited to psychoanalytic, feminist, (post)feminist, post-structural and queer theories. This transdisciplinary interlacement will serve as the basis for a generous amount of research, writing, group discussion and personal reflection.
ENGF - $20.00 Flat Fee
Bacc Core - Difference, Power, and Discrimination (CPDP) Liberal Arts Humanities Core (LACH)
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FILM 265
FILMS FOR THE FUTURE
Section: 1 CRN: 36566
TR 12-1:20 pm R 6-9:50 pm
An interdisciplinary study of film and philosophical visions of the future. Through a survey of Science Fiction films, we will answer how new technological advancements in filmmaking, while initially alien, have ultimately come to influence audiences’ visions of future societies.
ENGF - $20.00 Flat Fee
Bacc Core, Perspectives - Literature and the Arts (CPLA) Liberal Arts Humanities Core (LACH)
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FILM 399
STUDIES IN MEDICINE AND MEDIA
Section: 1 CRN:37282
TR 2-3:20 pm T 6-9:50 pm
This course examines key historical moments of intersection between the medical profession and media production. We consider how a range of media depicts the relationship between nations to doctors, doctors to patients, and patients to pathogens in different genres, from outbreak films to hospital dramas TV shows to fantasy video games. We will ask how these narratives have come to shape global policies and cultural understandings of health. We end the course by addressing media addiction, a recent diagnosis which points to our media consumption as making us sick.
WR 121Z
ENGLISH COMPOSITION
See the Course Catalog for available sections.
English Composition is designed to help you develop skills and confidence in analytical writing, and to foster your rhetorical awareness—your perception of where, how, and why persuasion is occurring. This 3-credit course places emphasis on the process of writing, including acts of reading, researching, analytical thinking, freewriting, drafting, review, revision, and editing. Complementing this approach is our focus on the final product—quality compositions that demonstrate rhetorical awareness and evidence of critical thinking.
Bacc Core, Skills - Writing I (CSW1)
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WR 201
WRITING FOR MEDIA
Section: 400 CRN: 33784
Ecampus
In our bright, new, post-Millennial culture, news bombards us from every direction, 24-7. From venerable news organizations like The Washington Post and The New York Times to newcomers such as Reddit, Facebook and TikTok. Either way, the news feeds never stop. WR201 Writing for Media will introduce students to reporting across a variety of media forms. Participants will try their hands at writing in newspaper, radio, broadcast, blog, digital reporting and photoessay styles. Successful completion of the course will require students to conduct multiple interviews with complete and utter strangers, compile credible research from reputable sources, and turn in publishable copy by deadline. Associated Press Style is bedrock for the course. The final WR201 assignment, a photojournalistic essay, requires a substantial time commitment outside class – but then again, reporting the news always necessitates bold time management skills.
B or higher in WR 121Z and 30 wpm typing speed. Bacc Core, Skills – Writing II (CSW2)
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WR 214
WRITING IN BUSINESS
See the Course Catalog for available sections.
As college students, you will soon enter a job market driven by new technologies, a changed economy, and the need to communicate with different audiences from all over the globe. The ability to write clearly and effectively for a wide range of purposes and audiences will be a vital skill in your future, regardless of your field of work. This course will develop your understanding of rhetoric, audience, and conventions to improve your communication skills; we will focus on the practical uses of clear and effective writing that can be applied to a variety of workplaces.
Prerequisites: A minimum grade of C- is required in WR 121Z or WR 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121Z.
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WR 220
STORIES OF THE U.S. MEXICO BORDER
Section: 400 CRN: 39289
Ecampus
This course analyzes stories from and about the US-Mexico border; explores and challenges conventional ideas about undocumented immigration in the US and considers immigration as a complex phenomenon with various causes; examines historical and current causes of migration across the US-Mexico border and the difficulties experienced on the migrant trail; and analyzes discriminatory practices of dehumanization, deportation, and detention and reveals immigrant resistance to oppression.
Bacc Core - Difference, Power, and Discrimination (CPDP)
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WR 224
INTRO TO FICTION WRITING
See the Course Catalog for available sections.
WR 224 is an introduction to the writing of fiction. Our approach in this fiction writing workshop will be to develop your skills as a creative writer through several means: careful reading and analysis of our own work; careful reading and analysis of established writers’ work; the execution of several meaningful fiction exercises; and a constant commitment to revision. Assessment methods include creative writing exercises, quizzes and reading checks on textbook craft sections, peer review, and the evolution of a short story from first to final, polished draft by the end of the term.
Bacc Core, Skills – Writing II (CSW2) Liberal Arts Fine Arts Core (LACF)
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WR 227Z T
ECHNICAL WRITING
See the Course Catalog for available sections.
Technical writing is practical written communication for a specialized need and a specific audience, typically instructive and/or informative, which may or may not be about science or technology. Nearly all workplaces require technical documents. Some workplaces hire trained technical writers, but in most cases technical writing is just one of your duties, often not even on the job description. Technical writing requires a problemsolving process focused on user centered design for a specific audience, purpose, and context, which is why it is sometimes called Information Management. Information must be procured, packaged, and presented in clean, attractive, error-free copy for a specific audience. This class requires you to present information in various documents, with focus on the writing in your field. Research (both primary and secondary) is required. Conferences and peer review will help. OSU’s Writing Center located in Waldo with an annex in the Valley Library provides excellent assistance with writing projects.
Bacc Core, Skills – Writing II (CSW2)
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WR 227Z T
ECHNICAL WRITING-ENGINEERING
Section: 3/10 CRN:38957/38964
M 10-11:50 am/M 2-3:50 pm
In the “Technical Writing for Engineers” sections of WR 327, students use an engineering communication textbook and engage with the course objectives and learning outcomes through engineering-specific activities and assignments. This approach serves two purposes. First, by focusing specifically on principles of effective engineering communication, the course builds proficiency in the kinds of communication practices you will be tasked with both in pro-school and in the engineering workplace. Second, your engagement with fundamental engineering concepts in each of the course assignments will both solidify and extend your repertoire of technical knowledge. In other words, participation in this course not only will help you become a better engineering communicator but will also lead to greater conceptual and technical fluency in your chosen field. These are Engineering Communication sections and are open to engineering students only.
Bacc Core, Skills – Writing II (CSW2)
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WR 240
INTRO TO NONFICTION WRITING
See the Course Catalog for available sections.
Creative nonfiction is the genre of creative writing that bridges the act of making literary prose--the crafting of vivid scenes, a thoughtful narrative voice, and meaningful formats--with the kinds of practical personal writing often required in our academic and professional lives. In this course, we will discuss several published pieces from the creative nonfiction genre, including personal essays, memoir, and lyric essay. More importantly, we will also write, edit, workshop, and revise several pieces of our own creative nonfiction. Expect a lively class with lots of imaginative prompts, free-writes, and hardy discussion.
Bacc Core, Skills – Writing II (CSW2) Liberal Arts Fine Arts Core (LACF)
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WR 241 INTRO TO POETRY WRITING
See the Course Catalog for available sections.
“The art of poetry is ultimately an art of attention—Michael Blumenthal.” Throughout this course, we will consider the tools necessary to approach poetry more attentively as both readers and writers. This course will provide a firm grounding in the rudiments of poetic craft such as word choice, line breaks, imagery, structure, and other devices, as well as an introduction to different forms available to poets. We will consistently work through writing exercises and read/ discuss the work of various poets in order to aid us in the generation of our own poems.
Bacc Core, Skills – Writing II (CSW2) Liberal Arts Fine Arts Core (LACF)
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WR 250
PODCAST STORYTELLING
Section: 1 CRN:37284
MWF 11-11:50 am
In this class, we’ll study the practice and conventions for writing, recording, and editing podcasts. We’ll listen to and analyze some of the best and most influential podcasts from the past few years—from Radiolab to Serial to Ologies—and see what makes that writing and recording successful, before we write our own podcasts. You can expect to learn the more practical skills involved in podcasting, such as audio recording and editing, as well as more complex elements like how to nail an interview and how to structure a multi-part audio essay to make it as compelling as possible. We’ll stress the importance of engaging multiple voices, developing a podcasting style, researching your topic, and appealing to your audience through narrative.
Prerequisites: A minimum grade of C- in WR 121Z or WR 121HZ.
Bacc Core, Skills – Writing II (CSW2)
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WR 303
WRITING FOR THE WEB
Section: 400 CRN:34643
Ecampus
Writing for the Web prepares students to produce engaging, informative, and rhetorically savvy writing for Web-based locations. Students will read, discuss, and write about topics relevant to writing online, and will practice writing in various genres geared toward online audiences. As a class, we will explore the implications of online writing on society. Instruction is grounded in rhetorical theory and by current research in digital literacies and multimedia writing practices. This class requires that students read assigned materials carefully and critically, write the assigned responses, and prepare for weekly class work and discussions.
Prerequisites: A minimum grade of D- in WR 121Z or WR 121HZ. Bacc Core, Skills – Writing II (CSW2)
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WR 323
ADVANCED WRITING AND ARGUMENTATION
See the Course Catalog for available sections.
While continuing the concerns of WR 121Z, WR 323 emphasizes the development of argumentation skills and the control of style to suit a variety of writing situations. Students will develop skills through critical thinking; discussing the style and mechanics of good writing; and workshopping and drafting formal essays. You will also study the work of professional writers for inspiration and guidance in your own writing, and approach them with a critical mind. In your reading you will learn to adopt the habit of looking closely and questioning the reliability of opinions; to identify, evaluate, and use the elements of argument; to distinguish between observation, fact, inference, etc.; to discern invalid evidence, bias, fallacies, and unfair emotional appeals; to understand how assumptions operate; to draw reasonable conclusions based on induction and deduction; and to distinguish subjective and objective approaches.
Bacc Core, Skills – Writing II (CSW2)
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WR 324
SHORT STORY WRITING
Section: 1 CRN: 30054
F 2-3:50 pm Hybrid (both on-site meetings and online component)
In this intermediate course, we’ll dive deeper into short story writing focusing on flash fiction i.e. stories under 1,000 words. What does it mean to write a story in the most condensed form? Are we creating a punch in the gut? A slice of life? We’ll examine craft elements like detail, characterization, and point of view in flash fiction being published today and use what we find to enhance our own work, first with exercises and then with a portfolio of polished flash stories. Along the way, we’ll track our individual and unique writing processes to help us understand what works for us and what doesn’t. This course features a hybrid of online and in person instruction.
Liberal Arts Fine Arts Core (LACF)
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WR 324
SHORT STORY WRITING
Section: 400 CRN: 35992
Ecampus
n this intermediate online fiction writing workshop, students motivated to advance their creative writing skills will build upon a working knowledge of the elements of a fiction writer’s craft, including point of view, dialogue, imagery and setting, character development, voice, and dramatic structure developed in WR 224. Special attention will be paid to working in scenes – evoking emotion through dramatization, rather than through exposition. Students will study the narrative styles of a diverse selection of major contemporary authors to advance their own writing. Weekly exercises allow students to develop the beginning, middle, and end of stories, to work with imagery, and to listen for their own voice and style. In addition to these exercises, students complete weekly artistic and technical responses to anthology stories, write and revise two 4-page dialogue exercises and a final 10-12 page short story.
Liberal Arts Fine Arts Core (LACF)
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WR 330
UNDERSTANDING GRAMMAR
Section: 400 CRN: 34644
Ecampus
WR 330 is an advanced study of traditional grammatical forms with special emphasis on structures and functions. We’ll study the sentence, its patterns, its required slots, its optional slots, its alternative structures, its modification, its punctuation, and your own intuitive knowledge of these concepts. In the process, we’ll gain the vocabulary to discuss grammar and linguistics, explore various (and sometimes oppositional) theories about linguistic “correctness,” deepen our awareness about language, and develop an appreciation of language, form, and style.
Prerequisites: A minimum grade of C- is required in WR 121Z or WR 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121Z. Bacc Core, Skills – Writing II (CSW2)
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WR 340
CREATIVE NONFICTION
Section: 1 CRN:38983 TR 8-9:50 am
Writing 340 is OSU’s intermediate creative writing course in creative nonfiction: personal essays, memoirs, travel narratives, and lyric essays. Any student who has taken a 200-level creative writing course is welcome to join the group. For this section, students will generate several very short pieces of creative nonfiction–”flash essays”--discussing and revising a few in small groups. Along the way, students will also read and discuss published examples of the flash form. Students can expect a lively schedule and a diverse reading list that prepares them to write about the world in many capacities.
Prerequisite: A minimum grade of D- in WR 240. Liberal Arts Fine Arts Core (LACF)
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WR 341
POETRY WRITING
Section: 1 CRN: 35460
TR 2-3:50p
Uses skills learned in WR 241 to practice writing, critiquing, and close-reading poems. Practices the stages of writing— from generative brainstorming to composing solid drafts to polishing accomplished work—through in- and out-ofclass exercises; employs revision strategies at every stage. Examines students’ poems in depth in a rigorous, supportive workshop. Encourages useful, insightful written and oral feedback. Studies a variety of contemporary poets as models and inspiration.
Prerequisite: A minimum grade of D- in WR 241. Liberal Arts Fine Arts Core (LACF)
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WR 362
SCIENCE WRITING
Conner, Roby/Ross Erin
Section: 400/401 CRN: 35197/39276
Ecampus
Scientists and other experts understand their field, but they don’t always know how to communicate that understanding to the general public. WR 362: Science Writing teaches you strategies for identifying your audience so you can write to their interests and needs. You’ll practice research, drafting, and revision skills to hone your ability to write clear documents for audiences who want learn about science and how it affects them.
Prerequisites: A minimum grade of C- in WR 121Z and WR 121HZ.
Bacc Core, Skills – Writing II (CSW2)
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WR 383
FOOD WRITING
Section: 400 CRN: 36714
Ecampus
From the recipe to the memoir essay, the investigative feature to the food crawl, this online course will expose you to the booming world of food writing. We’ll discuss the classics in American food writing and read deeply in what’s current, from personal blogs like Smitten Kitchen to online magazines like Serious Eats to print magazines like Saveur. Once you have a sense of the genre and its possibilities, each student will become writer, editor, and designer of a new issue of Buckteeth Magazine, an online food magazine associated with the class and produced collaboratively over the course of the term. You’ll assign yourself a food-focused story, learn effective strategies for pitching it, and hone your revision skills, earning yourself a spot on the masthead and a publication for your resume. See course catalog for registration restrictions.
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WR 399
SPECIAL TOPICS: THE PUBLISHING PRACTICUM
Section: 1 CRN: 37362
F 2-3:50 pm
Students can leave the Publishing Practicum a published author, podcaster, or content creator—or on their way to submitting a book proposal to an agent or editor. Through a customizable curriculum and individualized mentorship, students are supported as they conceptualize, pitch, and write/ record their creative or journalistic work. The course allows students to choose between learning pathways that include: on-campus publishing with the Orange Media Network (Daily Barometer, Dam Chic, Beaver’s Digest, Prism, KBVR 88.7 FM, and KBVR TV); freelance publishing (articles, essays, reviews, etc.) with print or digital magazines; literary publishing (poetry, personal essays, short stories, etc.) with independent journals or “lit mags”; and nonfiction book publishing with major publishing houses. Students can expect a distinctive course that will prepare them to navigate real-world publishing opportunities.
Students may retake the course for credit.
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WR 406
LETTERPRESS INTENSIVE
Section: 2 CRN: 34826
Day and Time TBA
This 1 credit, 2-day course introduces students to the basic techniques of letterpress printing. During the intensive (providing 10 hours of instruction), students will learn: •Basic history and terminology of moveable type and letterpress printing; •Introductory design skills using typefaces, spacing, and ornaments; •Hand type-setting; •How to proof and correct; •Operation of the proofing press and demonstration of the Chandler and Price hand press. This course is required for students seeking supervised access to the Moreland Letterpress Studio during its open hours for the Winter term.
Departmental Approval Required
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WR 414
ADVERTISING AND PUBLIC RELATIONS WRITING
Section:1 CRN: 38984
MW 2-3:50 pm
TikTok, Vanity Fair, YouTube influencers and spam. All of these media denizens rely on one thing for survival: advertising. On the advertising side of the spectrum, it’s inconsequential whether their client is promoting fashion, soda pop or political activism— what matters is that their message effectively breaks through the clutter to reach you. By examining the ways in which content delivery interfaces with written rhetoric in advertising and public relations, students will learn to write for both fields. At first blush, these two fields might seem worlds apart, but advertising and public relations share a deeply intrinsic task: both fields deploy language to motivate target audiences to take a desired action. By necessity, professionals in advertising and public relations must be sufficiently adaptable to write in any media form that conveys their message most expediently. Through assembling (and critiquing) two multi-document portfolios – an advertising campaign and a press kit – WR414 participants will hone their skills at writing for advertising and public relations in an increasingly nuanced media marketplace.
Prerequisites: A minimum grade of B in WR 121Z or WR 121HZ.
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WR 424
ADVANCED FICTION WRITING
Section:1 CRN:38985
TR 4-5:50 pm
In this workshop we will read and write literary fiction. Using published stories as models, we’ll discuss methods of characterization, plotting, scene-setting, dialogue, and so on. Much of our work together will involve close reading and analysis of the texts in question. Our emphasis will be on writing more complicated and sophisticated stories with concision and economy.We are writers in this class, and we’ll be reading as writers. We will ask, over and over, three questions: • what is the effect of a sentence, paragraph, word, or image? • what techniques produce these effects? • of these techniques, which might we borrow, steal, or avoid? Our first question will always be: What can we use here? Ideally, you’ll discover new ways to do things you’re already doing – while also discovering how your stories can be more ambitious. Through close reading we’ll try to determine how certain mysterious effects are produced – why you feel joy or sorrow, why you feel excitement or boredom, why you see pink or white when those colors aren’t mentioned explicitly. We’ll be spending our days with our noses in these pages, so you must underline and write in the margins as you read. Often we’ll spend several minutes on a single sentence. Don’t be afraid to “fondle details,” as Nabokov instructs – to wonder why a dress is a certain color, or why a window is open, or why a character mentions bread instead of wine. At the same time we’ll be careful to remind ourselves that writing is an art, and that not every act of writing is a conscious act. Too much conscious attention to tiny matters of craft can be paralyzing – and we’ll talk about ways to avoid this kind of unhappy ending.
Prerequisite: A minimum grade of D- in WR 324. Liberal Arts Fine Arts Core (LACF)
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WR 462
ENVIRONMENTAL WRITING
Section: 400 CRN: 36715
Ecampus
From early conservationism to monkey-wrenching to deep ecology to climate science to indigenous rhetorics—this class will journey through a forest of diverse voices (while journeying through actual forests, too). We’ll explore how environmental issues get communicated—and why that matters—by reading works from leading-edge environmental writers, tracing histories of environmental writing in America, and by composing our own works along the way. We’ll learn how conceptions of nature, earth, and sustainability get shaped through communication and practice techniques for reshaping them through creative and critical compositions.
Prerequisites: A minimum grade of C- in WR 121Z or WR 121HZ.
Bacc Core, Skills – Writing Intensive Courses (CWIC)
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WR 497
DIGITAL LITERACY AND CULTURE
Section: 1 (Hybrid) CRN: 36569
TR 12-1:20 pm Hybrid (both on-site meetings and online component)
From fanfic to 4Chan, from cute cats to QAnon: the internet is a chaotic, compelling, and often treacherous place. In an information environment that prioritizes instant gratification, hot takes, and clickbait, how do we build ethical online spaces that value community, conversation, and authentic connection? By investigating the inner workings of interface design, social media algorithms, and how our attention is directed online, we’ll ask ourselves what it means to be literate in the digital age. Examining everything from algorithmic bias and online radicalization to data harvesting and misinformation, we’ll navigate the mayhem of internet culture with an eye toward social, racial, and economic justice.
Prerequisites: A minimum grade of C- in WR 121 or WR 121H.
AJ 311
MEDIA STORYTELLING
Section 1, CRN 14488
MWF 9-9:50a
Whether you’re a seasoned journalist or absolute newcomer, AJ311 enables you to produce compelling news stories in both digital and multimedia style. Starting with the basics of news reporting, participants conduct interviews, gather facts and assemble accurate feature-length stories by deadline. They learn to increase their storytelling range through incorporating graphics, photographs, video clips, audio files, and anything else that brings their reader fully inside. Learning to write news entails an intimate relationship with Associated Press style and copyediting procedures. By the end of the term, students will be fully equipped to produce visually dynamic and factually robust news packages capable of shaping, informing—and maybe even changing the human community. You’ll select the idea and its means of delivery; we’ll help you get that story right on target. The two major writing assignments include a digital news feature and a multimedia news story.
Prerequisite: A minimum grade of B in WR 121, WR 121H, WR 121Z or WR 121HZ
ENG 101
INTRO TO LITERATURE: YOUNG ADULT NOVEL
Section 400, CRN 19703
Ecampus
Over the past two decades, the young adult literary novel has quickly become the fastest-growing genre trend in fiction, thanks in part to the award-winning work of such authors as S.E. Hinton, Jason Reynolds, John Greene, Rainbow Rowell, and Nikki Grimes. Of all genres of literature, Young Adult Fiction most explicitly explores themes such as sexuality, identity, social justice, and social media that are currently relevant to college students. Analyzing these novels in an introductory literature class will allow students to think critically about the types of literature many of them are reading on their own. The class will also uniquely prepare students who intend to teach young adult literature in primary education. Weekly lectures describe how the culturally distinct literary works of Young Adult authors develop elements of craft including characterization, significant detail, dialogue, voice, point of view and theme. The online course will make use of lectures, readings and videos, online discussions, quizzes and reading checks, combining approximately 90 hours of instruction, online activities, and assignments for 3 credits.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 104
INTRO TO LITERATURE: FICTION
Section 2, CRN 15725
TR 2-3:20p
This course offers students a rigorous examination of the short story as it has developed artistically and generically in the Western world over the past two centuries. Primary readings include such authors as Edgar Allan Poe, Anton Chekhov, Charlotte Perkins Gilman, Virginia Woolf, Flannery O’Connor, Ernest Hemingway, Raymond Carver, and Jorge Luis Borges. Secondary readings include selections from The New Short Story Theories, edited by Charles E. May. Students will develop critical stances on the short story as a genre, they will develop their skills as literary critics, and they will practice the craft of literary criticism, a genre all its own.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION
Section 3, CRN 17782
MWF 2-2:50p
This course proceeds on a notion raised by literary critic Lionel Trilling: that a central function of literary fiction is to “reveal the human fact within the veil of circumstances.” Here, we will read and discuss numerous works of short fiction with the aim of cultivating an awareness of writerly craft and “the human fact” it seeks ever to convey. We will familiarize ourselves with the basic elements of narrative character, setting, plot, symbolism, theme, structure, style, tone, and so forth. Overall, we’re concerned with thinking about how different writers seek to convey “the human fact” as a timeless, universal condition and as something shaped by the specific contexts—social, cultural, historical, etc.—in which these stories are set and in which they were written. We’re also concerned with the significance of the text at the time of its reading, i.e., how it is relevant to us in the current moment of 2023.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION
Section 400, CRN 12114
Ecampus
What is a story? How does fiction create or reflect the culture and historical moment in which they are written? Why do we (or why should we) read literature at all? In this class, we will build answers to these foundational questions. Using a critical lens, we will work to understand both the implied and stated meaning of short stories from across the last two centuries, as well as developing our knowledge of the key elements of fiction. We will discuss these stories in small and large groups, learn about the authors and the historical context in which they were written, and analyze them for a richer understanding and appreciation.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 104
INTRO TO LITERATURE: FICTION
Section 401, CRN 15685
Ecampus
What is a story? How does fiction create or reflect the culture and historical moment in which they are written? Why do we (or why should we) read literature at all? In this class, we will build answers to these foundational questions. Using a critical lens, we will work to understand both the implied and stated meaning of short stories from across the last two centuries, as well as developing our knowledge of the key elements of fiction. We will discuss these stories in small and large groups, learn about the authors and the historical context in which they were written, and analyze them for a richer understanding and appreciation.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 106
INTRO TO LITERATURE: POETRY
Section 1, CRN 12036
MWF 12-12:50p
You’ll be introduced to a variety of published voices from the past and present; you’ll study the basic craft elements of poetry including detail, imagery, voice, and lineation; you’ll practice your close reading skills to become a more skilled and confident reader of poetry; and you’ll establish a routine of checking in with your emotions and deepening your sense of empathy.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 106
INTRO TO LITERATURE: POETRY
Section 400/401, CRN 18767/19704
Ecampus
Goldsmith, Jenna/TBA
Offers a broad introduction to the genre of poetry. Encourages students to be more skilled and confident readers of poetry by introducing core concepts, showcasing dynamic living poets, and giving students the opportunity to compose in a personal creative process.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 108
INTRO TO SCIENCE FICTION AND FANTASY
Section 400, CRN 19724
Ecampus
The roots of science fiction and fantasy lie in myth, folklore, and fairy tales. Although some attention will be paid to these origins, we’ll focus on 19th c., 20th c., and contemporary examples of science fiction and fantasy in print. As befits our increasingly diverse society, moreover, this course is committed to introducing students to a range of voices in these genres. Accordingly, we’ll start with a contemporary graphic novel and end the course with a recent sci-fi/ fantasy novella. In between, we’ll chronologically study Anglo-American sci-fi and fantasy stories by both well-known and now-forgotten authors including Charles Dickens, Isaac Asimov, Zora Neale Hurston, J.R.R. Tolkien, Philip K. Dick, Octavia Butler, and Ted Chiang.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 201
SHAKESPEARE
Section 2, CRN 15824
MW 2-2:50p
Hybrid (both on-site meetings and online component)
An introduction to the first half of Shakespeare’s dramatic career (the Elizabethan period), with attention to the playwright’s continued global influence. This course is designed to help students become confident readers of Shakespeare’s language, articulate the significance of aural and visual elements of Shakespearean scripts, and analyze the plays in light of specific cultural and historical contexts, both early modern and contemporary. Plays include Richard III, Romeo and Juliet, The Merchant of Venice, and Hamlet.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 204
SURVEY OF BRITISH LITERATURE: BEGINNINGS TO 1660
Section 1, CRN 17547
TR 12-1:50p
This course is an introduction to English literature from its beginnings through Chaucer and Shakespeare. From Old English riddles and charms to bawdy fabliaux, from travel narratives to sonnets and the rise of professional theater, this course will survey nearly a thousand years of English literary forms in their political, cultural, and artistic contexts, with an eye to understanding how premodern literature and language shaped the course of history. In 800 CE, “England” was merely a loose conglomeration of small kingdoms, a backwater in the North Atlantic fighting to survive against Viking invaders. By 1660, the English Empire was a growing colonial power internally fragmented by political and religious dissent. What was literature in this early period of English history, and how did its definition, power, and use change over time? What did it mean to read? What relationship did early English literature have to music, the visual arts, and scientific thought? How did English literature create the idea of an English nation?
Bacc Core, Perspectives - Western Culture (CPWC)
Liberal Arts Humanities Core (LACH)
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ENG 211
LITERATURES OF THE WORLD: AFRICA
Section 400, CRN 18788
Ecampus
This course introduces students to a selection of literature produced in colonial and postcolonial Africa: novels, short stories, essays and poetry written by prominent African writers, such as Chinua Achebe, Ousmane Sembene, Albert Memmi and Joseph Conrad and by other emergent writers, such as Kopano Matlwa and Safia Elhillo, among others. The texts cover a broad range of subjects and themes, including colonialism, nationalism, anti-colonial resistance for self-determination and identity, conflicts between ideas of tradition vs. modernity, individualism vs. collective identity, resistance for women’s rights, memories of violence and trauma, neocolonialism and class struggles in a colonial and postcolonial context. The subjects and themes will be read and analyzed from various viewpoints, such as race, class, gender, sexuality, all through an intersectional framework. Course work will be evaluated based on weekly reading, discussion forum, weekly reading responses and two essays (Midterm and Final).
Bacc Core, Perspectives - Cultural Diversity (CPCD)
Liberal Arts Humanities Core (LACH)
Liberal Arts Non-Western Core (LACN)
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ENG 213
LITERATURES OF THE WORLD: MIDDLE EAST
Section 400, CRN 17623
Ecampus
This class will focus on modern Middle Eastern literature from multiple perspectives: cultural, political, religious, historical, geographical, linguistic, structural, stylistic, thematic, comparative, and other points of view. Among the topics we will discuss are different languages and dialects of the Middle East, different national and cultural categories, and the idea that the distinctions between these categories are often fluid and dynamic. We will also watch and discuss Middle Eastern cinema, trying to establish connections between Middle Eastern narratives and global cultural and intellectual ideas.
Bacc Core, Perspectives - Cultural Diversity (CPCD)
Liberal Arts Humanities Core (LACH)
Liberal Arts Non-Western Core (LACN)
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ENG 215
CLASSICAL MYTHOLOGY
Section 1, CRN 17548
TR 4-5:50p
In this class, students will explore the lives, beliefs, and myths of the ancient Greeks through one of the most enduring works of world literature, Homer’s The Odyssey. In our work together, we’ll ask hard questions about gender, power, justice, and adventure—in ancient times and now. Students will engage in regular discussions, take minor quizzes and formal exams, and follow their own inspiration as they track the influence of this foundational text through contemporary film and creative writing.
Bacc Core, Perspectives - Western Culture (CPWC)
Liberal Arts Humanities Core (LACH)
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ENG 216
ILLUMINATING HAPPINESS
Section 1, CRN 17549
TR 12-1:20p
This course explores a set of questions posed by poets about living a more satisfying life, exploring poems that embody alertness to happiness, stress, joy, love, death, curiosity, imagination, knowledge, history, music, art, politics, psychology, and more, as well as how to flourish in the small moments of living and, even, how to live a more fulfilling life. This course raises the central question: what makes a satisfying life? This course explores the ways that many human beings think matter in daily lives, such as wealth, material possessions, even good grades, don’t and, instead, hinder well-being. Poets have long been interested in these questions. Poets have long been looking for happiness — what is it? where to find it? why it’s elusive? what does it mean? These questions are especially relevant for a detailed examination as students become more and more involved in making the decisions that will shape one’s future and the future of others. This course will develop your thinking about illuminating happiness. Using a set of requirements and re-wirements, students will explore poetry, the pursuit of happiness, and the human community. This course demands carefu observation of both the assigned works and the life you lead. The course is designed to hone your concentration on details and the language that comes from those details, and I hope it helps release you into new ways of thinking about your lives. Our focus will be almost entirely on reading, writing, and doing, Monday-Friday, as if you are studying a new language.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 217
READING FOR WRITERS
Section 1, CRN 19304
MW 10-11:50
Many of the activities we do as writers are processes of reading: we read for inspiration, we read as workshop members, we read with particular attention and care when we revise our work. Ultimately, our writing lives may involve reading as editors, reviewers, and performers. This course will give you practice in all these wonderful ways of reading. At the heart of the course will be methods of close reading and interpretation, with an emphasis on how meaning is constructed in at least three genres: nonfiction, fiction, and poetry. Our reading will consist of editorial selections published in 45th Parallel, OSU’s graduate-student-run national literary journal. Here you’ll be exposed to diverse writers practicing the (widening) spectrum of subgenres: the interview, “flash” fiction, spoken word poetry, the podcast, graphic/comic literary art, the book review, etc. To prepare you for your creative writing curriculum, you will not only learn interpretive skills as readers but will practice what you are learning through short, low stakes writing exercises which ask you to adopt, adapt, and imitate the devices you encounter in the reading. Visits to the Moreland Print Studio and the Valley Library artists’ book collection will show us how form and visual space influences reading and interpretation. And visits by editors, creative writing faculty, and other writing professionals will give you a chance to learn about other writers’ reading habits.
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ENG 222
CHILDREN’S LITERATURE
Section 400, CRN 17624
Ecampus
Children’s literature has become a political battlefield. Governors and legislators argue over what should count as children’s literature, what its purpose should be, and what literature children need to be “protected” from—questions that used to be asked more by parents and librarians. But these are not new questions, even if the debate around them has recently become more frantic. Embedded in these discussions are cultural understandings of what “childhood” even is. With a focus on close reading, we’ll look at the historical arc of children’s literature, from the “walled gardens” of the nineteenth century to the dystopias of the twenty-first century. We’ll look at how conceptions of childhood have changed over time, shaped by and shaping the literature produced for children. We’ll consider who gets to decide where and how the boundaries around this genre are defined, and we’ll look at how children’s literature works as a powerful tool to reinforce or challenge systems of power within a culture.
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ENG 254
SURVEY OF AMERICAN LITERATURE: 1900 TO PRESENT
Section 1, CRN 16586
MW 12-1:50
Schwartz, Sam
American Literature 1900-present explores various literary modes—poetry, short fiction, novels, autobiography--and their production in the context of the aesthetic movements, politics, culture, and history that foregrounded their creation. The reading list reflects the diversity of U.S. regional literatures and their respective populations. We will balance between works that are “canonical” with those works that are not as often included in survey-level courses. Students will take written exams, participate in discussions, and collectively annotate selected works.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 260
LITERATURE OF AMERICAN MINORITIES
Section 1, CRN 19623
TR 10-11:50a
TBA
Study of the literature of American minorities: North American Indian, black, Chicano/Chicana, Asian, Middle Eastern, gay and lesbian.
Bacc Core - Difference, Power, and Discrimination (CPDP)
Liberal Arts Humanities Core (LACH)
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ENG 301
WAYS OF READING
Section 1, CRN 16164
MW 10-1150a
Shall I compare thee to a summer’s day? Our topic this term is the sonnet. Imported into English from Italian poetic tradition in the sixteenth century, the sonnet continues to serve as a go- to form in which poets explore a wide range of questions and emotions. Our readings include sonnets both early modern and modern, a play (Romeo and Juliet) that includes sonnets, and a novel (The Remains of the Day) that addresses in prose themes made famous in sonnets by Shakespeare and Milton. We will consider the Elizabethan sonnet in its cultural context, but will also trace its legacy over time and in different genres, including literary criticism.
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ENG 318
THE AMERICAN NOVEL: MODERNIST PERIOD
Section 1, CRN 17790
TR 12-1:50p
Focusing on some of the prominent thematic, stylistic, historical, and cultural aspects of American modernism, this class will combine famous classics with important novels other than the ones commonly perceived as canonical. Through close textual analysis and active participation in ongoing discussions, we will examine novels that have paved the way for previously silenced voices, paying attention to the rise of nontraditional authors, characters, literary strategies, and subject matters.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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ENG 330
THE HOLOCAUST IN LITERATURE AND FILM
Section 1, CRN 19305
MW 2-3:50p
Is the Nazi Holocaust of European Jewry ultimately beyond the human imagination? Should the generations who did not witness those events compose “stories” about it, or write “poetry” that attempts to envision or search for the redemptive in it? Can there ever be a film that allows us to understand its magnitude, rather than merely make spectacle or heroics from discrete parts of its known history? How do these historical events inform our own era’s violence and mass murder? In this course we will study major pieces of fiction, memoir, and film that indeed attempt to re-imagine and gain insight into the Nazi vision of a world that, in their own terminology, would be completely cleansed of Jews. We will learn through supplementary documents about the history of European Jewry, religious-based anti-Jewishness, and racial anti-Semitism. We will position the Holocaust in the context of the wider racial science of the era, and through this, grapple with how pervasive race and racial hierarchy was, and often remains, to the Western mind. By way of these contexts, we will make reference to other genocidal actions that have occurred after the Holocaust and into our own century. Finally, through each text we study, we will consider the controversy of the uniqueness of the Holocaust, and whether its unimaginable horrors can ever be justly represented in forms that originated during more innocent periods of Western culture that preceded it—forms such as the traditional novel, the short story, poetry, and film. Students will be evaluated through two major assignments: a literary/historical analysis of one of the written texts we’ve studied in an essay mid-term format, and a comparative critique of two of the films we’ve viewed for the course. The second assignment will be a traditional, formal essay and mandate at least five critical sources other than the subject text in question.
Texts:
Selection of essays
Primo Levi, Survival in Auschwitz (1960/1986)
Andre Schwarz-Bart, The Last of the Just (1960)
The World at War: Genocide, Thames Television Documentary (1982)
Schindler’s List, Directed by Stephen Spielberg, (1993)
Europa, Europa, Directed by Agnieszka Holland (1990)
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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ENG 345
INTRO TO LITERARY CRITICISM AND THEORY
Section 1, CRN 19306
TR 2-3:50p
TBA
This course focuses on the study and analysis of critical frameworks and methodologies for the interpretation of literature and culture.
Successful completion of ENG 301 is a prerequisite for this course, which may be taken concurrently.
Liberal Arts Humanities Core (LACH)
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ENG 360
NATIVE AMERICAN LITERATURE
Section 400, CRN 17781
Ecampus
This class studies a range of literary arts and cultural expressions by Native American authors. We’ll consider Native American literatures in their historical, cultural, geographical, political, and legal contexts. Throughout the course, we’ll prioritize Indigenous experiences, worldviews, and intellectual traditions in the study of Native literatures.
Bacc Core, Perspectives - Cultural Diversity (CPCD)
Liberal Arts Humanities Core (LACH)
Liberal Arts Non-Western Core (LACN
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ENG 425
STUDIES IN MEDIEVAL LITERATURE: IMAGINING THE FUTURE IN THE MEDIEVAL WORLD
Section 1, CRN 19624
TR 10-11:50a
It is a simple fact of human existence that our memories of the past appear, at least superficially, to be more accurate than our predictions about the future. But it is partly the future’s amorphousness that renders it a valuable space for ideology and literary creation. The way we predict the future, the things we predict about it, and the ways we attempt to mitigate the risks of an unknowable future while simultaneously attempting to convince ourselves that we know something about it all tell us important things about what our society values and what it doesn’t. For example, our approach to the Global Climate crisis is one particularly important modern example of “futurology.” The medieval period had its own approaches to the future, and in this class we’ll explore some of them, comparing them to present day treatments of time yet to come. How does medieval literature think about ecological crisis, free will, the end of the world, or utopian futures? We will read widely across medieval genres and alongside contemporary theory, including queer theory, ecological critiques/ecocriticism, and speculative literature/sci-fi theory.
Sophomore standing with 8 or more credits of level 200 ENG or above
Liberal Arts Humanities Core (LACH)
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ENG 438
STUDIES IN MODERNISM, FIN DE SIÈCLE TO INTERWAR YEARS: FORMALISM, RACE, AND GENDER
Section 1, CRN 17559
MW 8-9:50a
Post 1900
This course examines intellectual, cultural, and aesthetic aspects of the pre-and-post-World War I era of literature characterized by the practitioners of its day as Modernist. Modernism from its fin de siècle inception onward was a pan-arts movement based on the overarching assertion that 20th-century consciousness mandated new “purified” forms for the arts to match psychoanalytic, gender, race, class, nationalist, and imperialist revisions of 19th-century paradigms of these or what Francois Lyotard later dubbed “master narratives” from a Postmodern perspective. As a studies course, we will narrow our focus to a study of Modernist fiction in particular from 1890’s-1940. Each work studied represents an example of formalist experimentation with former conventions of the novel, novella, or short story that was fundamental to the movement from its beginnings. We will early on trace this formalism as it arises from the overlap of the late-19th-century school of Naturalism with Literary Impressionism/Symbolism; we will also grapple with Modernist Free and Indirect narrative style, stream-of-consciousness, and a late version of Dada/Surrealism. We will examine how these schools represent subjectivity from psychoanalytic, racialized, gendered, and liberal humanist perspectives. Simultaneously we will study political and cultural issues that inform the era along theses same lines with the addition in some works of colonial/post-colonial discourse. Please note that this is an upper-division course: students are expected to have previously studied examples of Modernist literature and to have acquired at least a cursory knowledge of the movement (ENG 206, 214, or 318 are all viable but unofficial prerequisites). Undergraduates will be evaluated through a mid-term essay (7-8 pages), and a term paper essay (10-12 pages). Graduates may submit the mid-term paper, but will be predominately evaluated through a graduate level research/analysis essay modeled on the standard article in the discipline.
Recommended: ENG 301; critical thinking, evaluation, and writing skills
Liberal Arts Humanities Core (LACH)
FILM 110
INTRODUCTION TO FILM STUDIES: 1895-1945
Section 1, CRN 15504
TR 10-11:20a & Screening T 6-9:50p
Explores and examines American cinema, 1895-1941, closely examining the important films and filmmakers of the period as well as key events in Hollywood industrial and American cultural (political, economic, and social) history. Weekly screenings to include: Sherlock Jr., Modern Times, Scarface, Stagecoach, and Citizen Kane.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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FILM 145
INTRODUCTION TO FILM STUDIES: 1968-1999
Section 400, CRN 16799
Ecampus
Explores and examines American and European cinema, 1968-1999. Emphasizes important films and filmmakers of the era as well as key events in American and European cultural history.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
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FILM 220
DIFFERENCE, POWER & DISCRIMINATION: QUEER CINEMA
Section 1, CRN 15503
MWF 10-10:50a & Screening M 6-9:50p
Queer cinema, despite its counter-cultural roots, must work within the larger movie industry it aims to critique. This class examines how queer cinema since the 1990s intervenes in public debates over the rights and representation of sexual and gender minorities. As a class, we will understand the stakes of this visibility and the consequences of looking closely at desire.
Bacc Core - Difference, Power, and Discrimination (CPDP)
Liberal Arts Humanities Core (LACH)
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FILM 245
THE NEW AMERICAN CINEMA
Section 1, CRN 19309
MWF 1-1:50p & Screening W 6-9:50p
This class will attend to contemporary American Cinema by closely examining important films and filmmakers of 21st-Century Hollywood (2000-present) along with key events in the business of developing, producing, distributing, and exhibiting motion pictures. There are no prerequisites for this course.
Bacc Core, Perspectives - Literature and the Arts (CPLA)
Liberal Arts Humanities Core (LACH)
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FILM 252X
INTRO TO SCREENWRITING
Section 400, CRN 17896
Ecampus
Crosslisted with WR 252X
Bohlinger, Joe
Focuses on the basic components of screenwriting. Explores professional examples of documents intrinsic to the craft—coverage, story treatments, storyboards, script outlines, series bibles and production drafts for films and television shows. Creates students’ versions of several of these forms to generate creative content through a series of “recipes” designed to teach the core concepts of character, setting, dramatic conflict and visual storytelling.
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FILM 445
DOCUMENTARY FILM STUDIES
Section 1, CRN 19310
TR 12-1:20p & Screening M 6-9:50p
An in-depth study of the history of the documentary film coupled with a practical introduction to the production of non-fiction, filmed content. Weekly screenings span the history of the genre: Nanook of the North, Gimme Shelter, Roger and Me, OJ: Made in America, My Octopus Teacher and assignments will include discussion of historically important documentaries and exercises in the production of non-fiction filmed content, matching history/theory with creative practice.
WR 121Z
ENGLISH COMPOSITION
See the Course Catalog for available sections
English Composition is designed to help you develop skills and confidence in analytical writing, and to foster your rhetorical awareness—your perception of where, how, and why persuasion is occurring. This 3-credit course places emphasis on the process of writing, including acts of reading, researching, analytical thinking, freewriting, drafting, review, revision, and editing. Complementing this approach is our focus on the final product—quality compositions that demonstrate rhetorical awareness and evidence of critical thinking.
Bacc Core, Skills - Writing I (CSW1)
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WR 201
WRITING FOR MEDIA
Section 1, CRN 10695
MWF 10-10:50a
In our bright, new, post-Millennial culture, news bombards us from every direction, 24-7. From venerable news organizations like The Washington Post and The New York Times to newcomers such as Reddit, Facebook and TikTok. Either way, the news feeds never stop. WR201 Writing for Media will introduce students to reporting across a variety of media forms. Participants will try their hands at writing in newspaper, radio, broadcast, blog, digital reporting and photoessay styles. Successful completion of the course will require students to conduct multiple interviews with complete and utter strangers, compile credible research from reputable sources, and turn in publishable copy by deadline. Associated Press Style is bedrock for the course. The final WR201 assignment, a photojournalistic essay, requires a substantial time commitment outside class – but then again, reporting the news always necessitates bold time management skills.
Prerequisites: B or higher in WR 121 or WR 121H and 30 wpm typing speed
Bacc Core, Skills – Writing II (CSW2)
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WR 214
WRITING IN BUSINESS
See the Course Catalog for available sections
As college students, you will soon enter a job market driven by new technologies, a changed economy, and the need to communicate with different audiences from all over the globe. The ability to write clearly and effectively for a wide range of purposes and audiences will be a vital skill in your future, regardless of your field of work. This course will develop your understanding of rhetoric, audience, and conventions to improve your communication skills; we will focus on the practical uses of clear and effective writing that can be applied to a variety of workplaces.
Prerequisites: A minimum grade of C- in WR 121, WR 121H, 121Z, 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121’
Bacc Core, Skills – Writing II (CSW2)
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WR 224
INTRO TO FICTION WRITING
See the Course Catalog for available sections
WR 224 is an introduction to the writing of fiction. Our approach in this fiction writing workshop will be to develop your skills as a creative writer through several means: careful reading and analysis of our own work; careful reading and analysis of established writers’ work; the execution of several meaningful fiction exercises; and a constant commitment to revision. Assessment methods include creative writing exercises, quizzes and reading checks on textbook craft sections, peer review, and the evolution of a short story from first to final, polished draft by the end of the term.
Prerequisites: A minimum grade of C- in WR 121, 121H, 121Z, 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121’
Bacc Core, Skills – Writing II (CSW2)
Liberal Arts Fine Arts Core (LACF)
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WR 227Z
TECHNICAL WRITING
See the Course Catalog for available sections
Technical writing is practical written communication for a specialized need and a specific audience, typically instructive and/or informative, which may or may not be about science or technology. Nearly all workplaces require technical documents. Some workplaces hire trained technical writers, but in most cases technical writing is just one of your duties, often not even on the job description. Technical writing requires a problem-solving process focused on user centered design for a specific audience, purpose, and context, which is why it is sometimes called Information Management. Information must be procured, packaged, and presented in clean, attractive, error-free copy for a specific audience. This class requires you to present information in various documents, with focus on the writing in your field. Research (both primary and secondary) is required. Conferences and peer review will help. OSU’s Writing Center located in Waldo with an annex in the Valley Library provides excellent assistance with writing projects.
Bacc Core, Skills – Writing II (CSW2)
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WR 227Ze
TECHNICAL WRITING FOR ENGINEERING STUDENTS
Section 1 / 5, CRN 19427 / 19431
MWF 2-2:50p / MWF 11-11:50a
Elbom, Emily / Bennett, Dennis
In the “Technical Writing for Engineers” sections of WR 227, students use an engineering communication textbook and engage with the course objectives and learning outcomes through engineering-specific activities and assignments. This approach serves two purposes. First, by focusing specifically on principles of effective engineering communication, the course builds proficiency in the kinds of communication practices you will be tasked with both in pro-school and in the engineering workplace. Second, your engagement with fundamental engineering concepts in each of the course assignments will both solidify and extend your repertoire of technical knowledge. In other words, participation in this course not only will help you become a better engineering communicator but will also lead to greater conceptual and technical fluency in your chosen field. These are Engineering Communication sections and are open to engineering students only.
Bacc Core, Skills – Writing II (CSW2)
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WR 230
ESSENTIALS OF ENGLISH GRAMMAR
Section 400, CRN 15157
Ecampus
You know grammar. It’s there in your head, helping you form coherent speech every day of your life. But how do you know it? How does it work? How do you translate it into your writing? Where, for example, do the commas really go? When should you use “whom,” and to whom does it matter? And is it really so wrong to start a sentence with “and”? This course will answer these questions and many others, introducing you to the structure of sentences with a focus on beginning grammar, so that your own writing choices can be more conscientious and effective—whether you stick to the rules or not.
Bacc Core, Skills – Writing II (CSW2)
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WR 240
INTRO TO NONFICTION WRITING
See the Course Catalog for available sections
Creative nonfiction is the genre of creative writing that bridges the act of making literary prose--the crafting of vivid scenes, a thoughtful narrative voice, and meaningful formats--with the kinds of practical personal writing often required in our academic and professional lives. We will discuss several published pieces from the creative nonfiction genre, including personal essays, memoir, and lyric essay. More importantly, we will also write, edit, workshop, and revise several pieces of our own creative nonfiction. Expect a lively class with lots of imaginative prompts, free-writes, and hardy discussion.
Prerequisites: A minimum grade of C- in WR 121, 121H, 121Z, 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121’
Bacc Core, Skills – Writing II (CSW2)
Liberal Arts Fine Arts Core (LACF)
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WR 241
INTRO TO POETRY WRITING
See the Course Catalog for available sections
"The art of poetry is ultimately an art of attention—Michael Blumenthal.” We will consider the tools necessary to approach poetry more attentively as both readers and writers. This course will provide a firm grounding in the rudiments of poetic craft such as word choice, line breaks, imagery, structure, and other devices, as well as an introduction to different forms available to poets. We will consistently work through writing exercises and read/ discuss the work of various poets in order to aid us in the generation of our own poems.
Prerequisites: A minimum grade of C- in WR 121, 121H, 121Z, 121HZ or minimum score of 1 in ‘Exam for Waiver - WR 121’
Bacc Core, Skills – Writing II (CSW2)
Liberal Arts Fine Arts Core (LACF)
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WR 250
PODCAST STORYTELLING
Section 1, CRN 17789
TR 2-3:20p
We’ll study the practice and conventions for writing, recording, and editing podcasts. We’ll listen to and analyze some of the best and most influential podcasts from the past few years—from Radiolab to Serial to Ologies—and see what makes that writing and recording successful, before we write our own podcasts. You can expect to learn the more practical skills involved in podcasting, such as audio recording and editing, as well as more complex elements like how to nail an interview and how to structure a multi-part audio essay to make it as compelling as possible. We’ll stress the importance of engaging multiple voices, developing a podcasting style, researching your topic, and appealing to your audience through narrative.
Prerequisites: A minimum grade of C- in WR 121 and WR 121H
Bacc Core, Skills – Writing II (CSW2)
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WR 252X
INTRO TO SCREENWRITING
Section: 400, CRN: 17897
Ecampus
Crosslisted with FILM 252X
Bohlinger, Joe
Focuses on the basic components of screenwriting. Explores professional examples of documents intrinsic to the craft—coverage, story treatments, storyboards, script outlines, series bibles and production drafts for films and television shows. Creates students’ versions of several of these forms to generate creative content through a series of “recipes” designed to teach the core concepts of character, setting, dramatic conflict and visual storytelling.
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WR 303
WRITING FOR THE WEB
Section 400, CRN 14324
Ecampus
Writing for the Web prepares students to produce engaging, informative, and rhetorically savvy writing for Web-based locations. Students will read, discuss, and write about topics relevant to writing online, and will practice writing in various genres geared toward online audiences. As a class, we will explore the implications of online writing on society. Instruction is grounded in rhetorical theory and by current research in digital literacies and multimedia writing practices. This class requires that students read assigned materials carefully and critically, write the assigned responses, and prepare for weekly class work and discussions.
Prerequisites: A minimum grade of D- in WR 121 and WR 121H
Bacc Core, Skills – Writing II (CSW2)
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WR 310
WRITING THE YOUNG ADULT NOVEL
Section 400, CRN 18789
Ecampus
Drummond, Rob
Explores the literary Young Adult (YA) novel by analyzing the plot, character, language, setting, and voice of established authors. Incorporates YA-specific craft elements to produce novelistic and literary writing. Develops and adapts an established structure and outline for a YA novel. Embarks on YA novel writing journey with rigorous revisions from peer review and instructor feedback.
Prerequisites: A minimum grade of C- is required in WR 224 and WR 224H
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WR 311
SPECIAL TOPICS: STUDIES IN FANTASY, SCI-FI AND SPECULATIVE FICTION
Section 1, CRN 17838
TR 4-5:50p
A craft course for writing in the science fiction and fantasy genres, also known as speculative fiction. Students will analyze contemporary, literary, science-fiction and fantasy short stories and novels to identify craft techniques that can be used to strengthen their own writing. Readings include authors Madeline Miller, Kazuo Ishiguro, and Carmen Maria Machado. Supplemental readings include critical essays on the socio-political implications of these genres, and craft essays on creating theme and point of view. Students will examine the ways in which these genres comment on our current social constructs and imagine new ones. Assignments include creative writing exercises on genre-specific elements, such as the hero’s journey narrative structure, worldbuilding, and rules of technology or magic. Students apply concepts learned in a two-week, multi-media, group story writing project that incorporates elements like art, music, or technology.
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WR 320
NARRATIVE MEDICINE
Section 1, CRN 16472
MW 12-1:50p
Focuses on contemporary poetry and nonfiction by writers who are also medical professionals, patients, and caregivers. Studies the authors’ different perspectives to consider the griefs and joys, concerns and comforts they have in common with their readers. Encourages a heightened sense of empathy. Explores the body’s struggles and failures, recoveries and triumphs. Develops a practice of thoughtful self-examination through in-depth class discussions and weekly writing prompts.
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WR 323
ADVANCED WRITING AND ARGUMENTATION
See the Course Catalog for available sections
While continuing the concerns of WR 121, WR 323 emphasizes the development of argumentation skills and the control of style to suit a variety of writing situations. Students will develop skills through critical thinking; discussing the style and mechanics of good writing; and workshopping and drafting formal essays. You will also study the work of professional writers for inspiration and guidance in your own writing, and approach them with a critical mind. In your reading you will learn to adopt the habit of looking closely and questioning the reliability of opinions; to identify, evaluate, and use the elements of argument; to distinguish between observation, fact, inference, etc.; to discern invalid evidence, bias, fallacies, and unfair emotional appeals; to understand how assumptions operate; to draw reasonable conclusions based on induction and deduction; and to distinguish subjective and objective approaches.
Bacc Core, Skills – Writing II (CSW2)
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WR 324
SHORT STORY WRITING
Section 1, CRN 16500
TR 8:30-9:50a
Hybrid (on-site meetings and online component)
We’ll study the basic elements of fiction—character, dialogue, point of view, tone, and so on—to further develop our understanding of fictional techniques. Our class will combine reading, writing, and discussion. Assignments will include two full-length short stories (7-10 pages each), a short-short (if time allows), writing exercises, presentations, and written critiques on workshop stories.
In order to understand how fiction is put together—how the raw material of inspiration is transmuted into art—we will read and discuss in class a selection of short stories. We will try to understand these works in terms of why the author has made the aesthetic choices he or she has made. Why first person? Why third person? Why is X the narrator rather than Y? Why the present tense? Why dramatize this scene; why narrate this information?
With the published work and your own stories and exercises we’ll be asking what makes a work of fiction get under our skin, move us emotionally, reveal things about us, rise to the level of art… Why do we read and why do we write? The following quotations will help to guide our thinking:
"The very reason I write is so I might not sleepwalk through my entire life." —Zadie Smith
“The value of great fiction...is not just that it entertains us or distracts us from our troubles, not just that it broadens our knowledge of people and places, but also that it helps us to know what we believe, reinforces those qualities that are noblest in us, leads us to feel uneasy about our faults and limitations.” —John Gardner, The Art of Fiction
“There are gentle souls who would pronounce Lolita meaningless because it does not teach them anything. I am neither a reader or a writer of didactic fiction....and Lolita has no moral in tow....For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with the other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm.” —Vladimir Nabokov (from the essay at the end of Lolita)
“A story is a way to say something that can’t be said any other way, and it takes every word in the story to say what the meaning is.” —Flannery O’Connor
"Whatever you can do, or dream you can, begin it. Boldness has genius, magic, and power in it. Begin it now." —W. H. Murray, The Scottish Himalayan Expedition
A “sense of kinship is what makes stories important to us. The pleasure we take in cleverness and technical virtuosity soon exhausts itself in the absence of any recognizable human landscape. We need to feel ourselves acted upon by a story, outraged, exposed, in danger of heartbreak and change.” —Tobias Wolff
“Art hurts. Art urges voyages—and it is easier to stay at home.” —Gwendolyn Brooks
Genre fiction, such as sci fi, bodice-ripping romance, mystery, fantasy, young adult, will not be considered.
A minimum grade of D- is required in WR 224 and WR 224H
Liberal Arts Fine Arts Core (LACF)
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WR 362
SCIENCE WRITING
Section 1, CRN 19719
MWF 3-3:50p
Students learn and practice the conventions for writing scientific material for a variety of audiences. Involves writing and research assignments, multimedia presentations, lecture, and in-class and online activities.
Prerequisites: A minimum grade of C- in WR 121 and WR 121H
Bacc Core, Skills – Writing II (CSW2)
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WR 362
SCIENCE WRITING
Section 400 / 401, CRN 15703 / 19705
Ecampus
Griffin, Kristin / Snyder, Wes
Online Science Writing explores the practice and conventions for writing about science to a public audience of non-professionals. We will read and analyze some of the best and most influential science journalism from the past few years to see what makes that writing successful. The course addresses the practical skills involved in writing about complex scientific information and the models of science communication that those skills enable. Then we’ll write our own news pieces and feature articles that communicate that information to the public. Students will explore their specific areas of scientific interest and work to inspire that same interest in their audience, both in print and online. Reading and writing assignments have been designed to help students gain greater insight into the issues and challenges of science writing in a variety of contexts.
Prerequisites: A minimum grade of C- in WR 121 and WR 121H
Bacc Core, Skills – Writing II (CSW2)
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WR 411
THE TEACHING OF WRITING
Section 1, CRN 19324
TR 8:30-9:50
Hybrid (on-site meetings and online component)
WIC/Pedagogy
We’ll study research about the teaching of writing and practice what it means to assign, evaluate, and respond to student writers. This course is designed to introduce current and future teachers of writing to theory and pedagogy in composition studies, to help us become aware of and strengthen our own writing processes, and to enable us to make and express connections between classroom experience and composition theory. We’ll be looking at assessment, response, assignment creation, grammar, literacy, multimedia, process, and genre as we explore composition and writing. Coming out of this class, you’ll be better prepared to teach and evaluate your students’ writing and likely feel more confident in your own writing.
Bacc Core, Skills – Writing Intensive Courses (CWIC)
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WR 424
ADVANCED FICTION WRITING
Section 1, CRN 14888
W 10-11:50a
Hybrid (on-site meetings and online component)
We will look at several books of published short fiction, and workshop student work. Looking beyond standard craft topics, we will consider what it is that makes certain works of fiction powerful and deeply moving. We will consider too, what it is that is unique about fiction as a genre. What can fiction do that other genres cannot? How can we use this to our advantage when we write our own stories?
Prerequisites: A minimum grade of D- is required in WR 324
Liberal Arts Fine Arts Core (LACF)
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WR 435
SCIENTIFIC, TECHNICAL, AND PROFESSIONAL COMMUNICATION CAPSTONE
Section 1, CRN 17985
T 10-10:50a
Project
This one-credit course provides an opportunity for students enrolled in the certificate in scientific, technical, and professional communication to compose and design a portfolio of their existing work for future professional use. The course covers the purpose and goals in creating a portfolio, the selection and organization of materials, the formation of an editing and revision plan, the development of contextual summaries, the writing of an introductory letter, and the delivery of a finished portfolio project. Faculty will assist students in these decisions throughout the five-week course, each week focusing on smaller elements of the portfolio project. The portfolio will be proof of the work students have completed in their certificate program and assist students in representing those abilities to others.
Recommended: Completion of 18 credits towards the Scientific, Technical, and Professional Communication Certificate
Enrollment is limited to students with a program in Scientific, Tech, & Prof Comm (C750)
Department Approval Required: SAPR
Cultural Diversity
ENG 211 LITERATURES OF THE WORLD: AFRICA
ENG 213 LITERATURES OF THE WORLD: MIDDLE EAST
ENG 360 NATIVE AMERICAN LITERATURE
Difference, Power, and Discrimination
ENG 260 LITERATURE OF AMERICAN MINORITIES
FILM 220 QUEER CINEMA
Literature and the Arts
ENG 101 INTRO TO LITERATURE: THE YOUNG ADULT NOVEL
ENG 104 INTRO TO LITERATURE: FICTION
ENG 106 INTRO TO LITERATURE: POETRY
ENG 108 INTRO TO SCIENCE FICTION AND FANTASY
ENG 201 SHAKESPEARE (ELIZABETHAN)
ENG 216 ILLUMINATING HAPPINESS
ENG 254 SURVEY OF AMERICAN LITERATURE: 1900 TO PRESENT
ENG 318 THE AMERICAN NOVEL: MODERNIST PERIOD
ENG 330 THE HOLOCAUST IN LITERATURE AND FILM
FILM 110 INTRO TO FILM STUDIES 1895-1945
FILM 145 INTRO TO FILM STUDIES: 1968 TO 1999
FILM 245 THE NEW AMERICAN CINEMA
Western Culture
ENG 204 SURVEY OF BRITISH LITERATURE: BEGINNINGS TO 1660
ENG 215 CLASSICAL MYTHOLOGY
WIC (Writing Intensive)
WR 411 THE TEACHING OF WRITING
Writing II
WR 201 WRITING FOR MEDIA
WR 214 WRITING FOR BUSINESS
WR 224 INTRO TO FICTION WRITING
WR 227Z TECHNICAL WRITING
WR 230 ESSENTIALS OF ENG.GRAMMAR
WR 240 INTRO TO NONFICTION WRITING
WR 241 INTRO TO POETRY WRITING
WR 250 PODCAST STORYTELLING
WR 303 WRITING FOR THE WEB
WR 323 ADV. WRITING & ARGUMENTATION
WR 362 SCIENCE WRITING
Many of these courses will also fulfill Liberal Arts Core classes.
Liddy's teaching and areas of interest include memoir writing, Caribbean literary studies, feminist and queer theories, and story-based strategies for social change. Dr. Detar has also taught and advised for years in Women, Gender, and Sexuality Studies. She coordinates the MFA Graduate Internship Program and directs “Social Action Works,” a professional development initiative that supports undergraduate students to explore careers that enact social commitments. Dr. Detar trains horses and riders in natural horsemanship, rock climbs, enjoys digital media, quilting, and spending time with her teenage kids.
“This is an exciting moment in our communities and in our culture for storytelling and the power of narrative. I welcome the opportunity to meet with you (virtually or in-person) to hear of your interests and share information about our programs in Creative Writing, English, Film Studies, Writing, Scientific, Technical, and Professional Communication, and Applied Journalism.”
Office: Moreland Hall 224
Or Join Liddy in her Virtual Office
Call her at: 541-737-1636
Email her at: liddy.detar@oregonstate.edu
Or Schedule a Meeting