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Zanvyl Krieger School of Arts and Sciences

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  • Explore our Programs
  • University-​wide Policies and Information
    • Academic Policies and Information
      • Academic Calendar
      • Academic Integrity Policies
      • Animal Care and Use Program
      • Credit Hour Policy
      • FERPA
      • PHD Specific Policies
      • Student Leave of Absence Policy
      • Student Status (Course Load)
      • Transcripts and Enrollment Verifications
    • Admission and Aid
      • Tuition, Fees, and Cost of Attendance
        • Financial Aid
    • Higher Education Act Disclosures
      • General Institutional Information
      • Health and Safety Information
      • Student Financial Assistance Information
    • Office of Institutional Equity
      • Discrimination and Harassment Policy and Procedures
      • Equal Opportunity and Title IX Notice
      • Sexual Misconduct Policy and Procedures
    • Rights, Privileges, and Responsibilities
      • Academic Grievance Policy: Students and Postdoctoral Fellows
      • New Child Accommodations for Full-​Time Graduate Students and Postdoctoral Trainees
      • Personal Relationships Policy
      • Photography and Film Rights Policy
      • Student Conduct Code
      • Student Disability Services (SDS)
      • Student Health
    • Veterans Affairs
  • Bloomberg School of Public Health
    • Academic Calendar
    • Admission
    • CEPH Requirements
    • Departments
      • Department of Biochemistry and Molecular Biology
        • Biochemistry and Molecular Biology, MHS
        • Biochemistry and Molecular Biology, ScM
        • Biochemistry and Molecular Biology, PhD
        • Non-​Degree Training
      • Department of Biostatistics
        • Biostatistics, MHS
        • Biostatistics, ScM
        • Biostatistics, PhD
      • Department of Environmental Health and Engineering
        • Environmental Health, MHS
        • Environmental Health, SCM
        • Toxicology for Human Risk Assessment, MS
        • Environmental Health, PhD
        • Non-​Degree Training
      • Department of Epidemiology
        • Epidemiology, MHS
        • Epidemiology, ScM
        • Epidemiology, PhD
        • Non-​Degree Training
      • Department of Health, Behavior and Society
        • Health Education and Health Communication, MSPH
        • Genetic Counseling, ScM
        • Health, Behavior, and Society, MHS
        • Health, Behavior and Society, PhD
        • Non-​Degree Training
      • Department of Health Policy and Management
        • Health Administration, MHA
        • Health Economics and Outcomes Research, MHS
        • Health Finance and Management, MHS
        • Health Policy, MSPH
        • Health Policy and Management, PhD
        • Health Policy and Management, DrPH (Tsinghua)
        • Non-​Degree Training
      • Department of International Health
        • Global Health Economics, MHS
        • International Health, MSPH
        • International Health, MSPH, Human Nutrition-​Dietitian
        • International Health, MA/​MSPH
        • International Health, PhD
        • Non-​Degree Training
      • Department of Mental Health
        • Mental Health, MHS
        • Mental Health, PhD
        • Non-​Degree Training
      • Department of Molecular Microbiology &​ Immunology
        • Molecular Microbiology &​ Immunology, MHS
        • Molecular Microbiology &​ Immunology, ScM
        • Molecular Microbiology &​ Immunology, PhD
        • Non-​Degree Training
      • Department of Population, Family and Reproductive Health
        • Population, Family and Reproductive Health, MHS
        • Population, Family and Reproductive Health, MHS Online
        • Population, Family and Reproductive Health, MSPH
        • Population, Family and Reproductive Health, PhD
      • Doctor of Public Health (DrPH)
      • Graduate Training Programs in Clinical Investigation
        • Graduate Training Programs in Clinical Investigation, MHS
        • Graduate Training Programs in Clinical Investigation, PhD
        • Graduate Training Programs in Clinical Investigation, ScM
      • Master of Arts in Public Health Biology
      • Master of Bioethics
      • Master of Public Health Program
        • DNP/​MPH
        • DVM/​MPH
        • JD/​MPH
        • LLM/​MPH
        • MBA/​MPH with China Europe International Business School
        • MD/​MPH
        • MPH/​MBA
        • MSW/​MPH
      • MAS-​Office
        • Master of Applied Science in Community-​Based Primary Health Care Programs in Global Health
        • Master of Applied Science in Humanitarian Health
        • Master of Applied Science in Patient Safety and Healthcare Quality
        • Master of Applied Science in Population Health Management
        • Master of Applied Science in Spatial Analysis for Public Health
      • Residency Programs
        • General Preventive Medicine Residency Program
        • Occupational and Environmental Medicine Residency
    • Certificates
      • Adolescent Health, Certificate
      • Bioethics, Certificate
      • Climate and Health, Certificate
      • Clinical Trials, Certificate
      • Community-​Based Public Health, Certificate
      • Demographic Methods, Certificate
      • Environmental and Occupational Health, Certificate
      • Epidemiology for Public Health Professionals, Certificate
      • Evaluation: International Health Programs, Certificate
      • Food Systems, the Environment &​ Public Health, Certificate
      • Gender and Health, Certificate
      • Gerontology, Certificate
      • Global Digital Health, Certificate
      • Global Health, Certificate
      • Global Health Practice, Certificate
      • Health and Human Rights, Certificate
      • Health Communication, Certificate
      • Health Disparities and Health Inequality, Certificate
      • Health Education, Certificate
      • Health Finance and Management, Certificate
      • Healthcare Epidemiology and Infection Prevention and Control, Certificate
      • Humane Sciences and Toxicology Policy, Certificate
      • Humanitarian Health, Certificate
      • Implementation Science and Research Practice, Certificate
      • Injury and Violence Prevention, Certificate
      • International Healthcare Management and Leadership, Certificate
      • Leadership for Public Health and Healthcare, Certificate
      • Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) Public Health, Certificate
      • Maternal and Child Health, Certificate
      • Mental Health Policy, Economics and Services, Certificate
      • Pharmacoepidemiology and Drug Safety, Certificate
      • Population and Health, Certificate
      • Population Health Management, Certificate
      • Product Stewardship for Sustainability, Certificate
      • Public Health Advocacy, Certificate
      • Public Health Economics, Certificate
      • Public Health Informatics, Certificate
      • Public Health Practice, Certificate
      • Public Health Preparedness, Certificate
      • Public Health Training Certificate for American Indian Health Professionals
      • Public Mental Health Research, Certificate
      • Quality, Patient Safety, and Outcomes Research, Certificate
      • Quantitative Methods in Public Health, Certificate
      • Rigor, Reproducibility and Responsibility in Scientific Practice, Certificate
      • Risk Sciences and Public Policy, Certificate
      • Spatial Analysis for Public Health, Certificate
      • Training Certificate in Public Health
      • Tropical Medicine, Certificate
      • Vaccine Science and Policy, Certificate
    • Policies
      • Academic
        • Academic Ethics Code
        • Compliance Line
        • Grade Appeal Policy
        • Grading System
        • Graduation Policy
        • Interdivisional Registration
        • Multi-​Term Course Policy
        • Post-​Doctoral Fellow Student Status
        • Student Grievance Policy
        • Voluntary Leave of Absence Policy
      • Research
        • Animal Research
        • Human Subjects Research
        • Worker's Compensation
  • Carey Business School
    • Admission
      • Master’s Programs
      • Certificate Programs
      • Graduate Degree Requirements
      • International Student Admission Policy
      • Verification of Credentials
      • Other Admission Policies
    • Degrees and Certificates
      • Business Administration (Flexible), MBA
      • Business Administration (Full Time), MBA
      • Business Analytics and Risk Management (Part Time), Master of Science
      • Business Analytics and Risk Management, Master of Science
      • Design Leadership, MBA/​MA Dual Degree
      • Finance (Part Time), Master of Science
      • Finance, Master of Science
      • Financial Management, Graduate Certificate
      • Financial Management, Graduate Certificate, Investments, Graduate Certificate, Applied Economics, MS
      • Health Care Management (Part Time), Master of Science
      • Health Care Management, Master of Science
      • Information Systems, Master of Science
      • Investments, Graduate Certificate
      • Leadership Development Program, Graduate Certificate
      • Marketing (Part Time), Master of Science
      • Marketing, Master of Science
      • MBA/​Applied Economics, MS Dual Degree
      • MBA/​Biotechnology, MS Dual Degree
      • MBA/​Communication, MA Dual Degree
      • MBA/​DNP Dual Degree
      • MBA/​Government, MA Dual Degree
      • MBA/​Healthcare Organizational Leadership, MSN Dual Degree
      • MBA/​JD Dual Degree
      • MBA/​MA in International Relations
      • MBA/​MD Dual Degree
      • MBA/​MPH Dual Degree
      • Real Estate and Infrastructure (Part Time), Master of Science
      • Real Estate and Infrastructure, Master of Science
      • Business, Minor
    • Policies and Resources
      • Academic Calendar
      • Academic Ethics Policy
      • Academic Progress and Standards
      • Changing Degree Program
      • Grading Policy
      • Graduation
      • Attendance Policy
      • Leave of Absence
      • Registration
      • Student Accounts
      • Transfer of Graduate Credit
      • Waiver Exams
  • Peabody Institute
    • General Information, Procedures and Regulations
      • Introduction and Nomenclature
      • Mission
      • Accreditation
      • Links
      • Honor Societies
    • Procedural Information
      • Applicability
      • Studio Assignments
      • Course Numbering
      • Large Ensemble Participation
      • Competitions
      • Recitals
      • Academic Advising
      • Inter-​Institutional Academic Arrangements
      • Study Abroad Program
      • Outside Instruction and Public Performance
    • Academic Regulations
      • Applicability
      • Academic Code of Conduct
      • Program Classification, Status, and Credit Limits
      • Sources of Credit
      • Grading System and Regulations
      • Dean's List Criteria
      • Academic Standing
      • Registration Regulations
      • Attendance and Absences
      • Interruption of Degree Work
      • Graduation Eligibility
    • Degree and Diploma Programs
      • Bachelor of Fine Arts in Dance (BFA)
      • Bachelor of Music (BM)
        • Curricula
          • Bachelor of Music in Composition
          • Bachelor of Music in Jazz Performance
          • Bachelor of Music in Music Education
            • Bachelor of Music in Music Education -​ Composition
            • Bachelor of Music in Music Education-​ Guitar
            • Bachelor of Music in Music Education -​ Jazz
            • Bachelor of Music in Music Education -​ Orchestral Instruments
            • Bachelor of Music in Music Education -​ Piano
            • Bachelor of Music in Music Education -​ Voice
          • Bachelor of Music in Music for New Media
          • Bachelor of Music in Performance
            • Bachelor of Music in Performance -​ Computer Music
            • Bachelor of Music in Performance -​ Guitar
            • Bachelor of Music in Performance -​ Harpsichord
            • Bachelor of Music in Performance -​ Historical Performance
            • Bachelor of Music in Performance -​ Orchestral Instruments
            • Bachelor of Music in Performance -​ Organ
            • Bachelor of Music in Performance -​ Piano
            • Bachelor of Music in Performance -​ Voice
          • Bachelor of Music in Recording Arts &​ Sciences
            • Bachelor of Music in Recording Arts &​ Sciences -​ Composition
            • Bachelor of Music in Recording Arts &​ Sciences -​ Computer Music
            • Bachelor of Music in Recording Arts &​ Sciences -​ Guitar
            • Bachelor of Music in Recording Arts &​ Sciences -​ Jazz
            • Bachelor of Music in Recording Arts &​ Sciences -​ Orchestral Instruments
            • Bachelor of Music in Recording Arts &​ Sciences -​ Piano
        • Minors
          • Business of Music, Minor
          • Directed Studies, Minor
          • Historical Performance, Minor
          • Historical Performance: Voice, Minor
          • Liberal Arts, Minor
          • Music Theory, Minor
          • Musicology, Minor
        • Combined Degree Programs
          • Peabody-​Homewood Double Degree Program
        • Accelerated Graduate Degrees
          • Five-​Year BM/​MM Program
          • Five-​Year BMRA/​MA Program
            • Five-​Year BM/​MA: Music for New Media Variant
      • Master of Music (MM)
        • Master of Music in Composition
        • Master of Music in Film and Game Scoring
        • Master of Music: Performance
          • Master of Music, Performance -​ Choral Conducting Specialization
          • Master of Music, Performance -​ Computer Music specialization
          • Master of Music, Performance -​ Guitar specialization
          • Master of Music, Performance -​ Harpsichord specialization
          • Master of Music, Performance -​ Historical Performance Instruments specialization
          • Master of Music, Performance -​ Historical Performance Voice specialization
          • Master of Music, Performance -​ Jazz specialization
          • Master of Music, Performance -​ Orchestral Conducting specialization
          • Master of Music, Performance -​ Orchestral Instruments specialization
          • Master of Music, Performance -​ Organ specialization
          • Master of Music, Performance -​ Piano specialization
          • Master of Music, Performance -​ Wind Conducting specialization
          • Master of Music, Performance -​ Voice specialization
        • Master of Music: Academic Majors
          • Performance, Master of Music -​ Pedagogy emphasis
          • Music Education, Master of Music
          • Musicology, Master of Music
          • Music Theory Pedagogy, Master of Music
        • Master of Music: Low Residency
      • Master of Arts (MA)
        • Audio Sciences: Acoustics, Master of Arts
          • Five-​Year BM/​MA Program Requirements: Acoustics
        • Audio Sciences: Recording Arts and Sciences, Master of Arts
          • Five-​Year BM/​MA Program Requirements: Recording Arts
      • Doctor of Musical Arts (DMA)
        • Composition, Doctor of Musical Arts
        • Performance, Doctor of Musical Arts -​ Guitar specialization
        • Performance, Doctor of Musical Arts -​ Historical Performance Instruments specialization
        • Performance, Doctor of Musical Arts -​ Orchestral Conducting specialization
        • Performance, Doctor of Musical Arts -​ Orchestral Instruments specialization
        • Performance, Doctor of Musical Arts -​ Organ specialization
        • Performance, Doctor of Musical Arts -​ Piano specialization
        • Performance, Doctor of Musical Arts -​ Voice specialization
        • Performance, Doctor of Musical Arts -​ Wind Conducting specialization
      • Performer’s Certificate (PC)
        • Guitar, Performer's Certificate
        • Orchestral Instruments, Performer's Certificate
        • Organ, Performer's Certificate
        • Piano, Performer's Certificate
        • Voice, Performer's Certificate
      • Graduate Performance Diploma (GPD)
      • Artist’s Diploma (AD)
    • Extension Study
      • Music Education Certification -​ Instrumental
      • Music Education Certification -​ Vocal
  • Nitze School of Advanced International Studies
    • Degrees and Certificates
      • International Studies, Doctor of Philosophy
      • International Affairs, Doctor of
      • European Public Policy, Master of Arts
      • Global Policy, Master of Arts
      • Global Risk, Master of Arts (On-​site)
      • Global Risk, Master of Arts (Online)
      • International Affairs, Master of Arts
      • International Economics and Finance, Master of Arts
      • International Relations, Master of Arts
      • International Studies, Master of Arts
      • International Public Policy, Master of
      • Strategy, Cybersecurity, and Intelligence, Master of Arts
      • Sustainable Energy, Master of Arts (Online)
      • Chinese and American Studies, Hopkins-​Nanjing Center Certificate
      • Dual Degrees and Exchange Programs
      • Graduate Certificates
      • International Studies, Diploma
    • Policies and Resources
      • Academic Integrity
      • Academic Policies and Resources
      • Student Life
    • School Leadership and Key Contacts
  • School of Education
    • Academic and Student Policies
      • Academic and Student Conduct Policies
      • Academic Standards
      • Grading System and Academic Records
      • Grievances and Complaints
    • Admission
    • Graduation
    • Programs
      • Doctoral Programs
        • Education (Online), EdD
        • Education, PhD
      • Master's Programs
        • Counseling, Master of Science
        • Education, Master of Science
          • Education, Master of Science – Digital Age Learning and Educational Technology (Online)
          • Education, Master of Science -​ Educational Studies
          • Education, Master of Science -​ Gifted Education
          • Education, Master of Science -​ School Administration and Supervision
        • Education Policy, Master of Science
        • Health Professions (Online), Master of Education
        • Special Education, Master of Science
        • Teaching Professionals, Master of Education
      • Post Master's Certificates
        • Applied Behavior Analysis, Post–Master’s Certificate
        • Clinical Mental Health Counseling, Post–Master’s Certificate
        • Evidence-​Based Teaching in the Health Professions, Post–Master’s Certificate
      • Certificate of Advanced Graduate Study
        • Counseling, Certificate of Advanced Graduate Study
      • Graduate Certificates
        • Education of Students with Autism and Other Pervasive Developmental Disorders, Graduate Certificate
        • Educational Leadership for Independent Schools, Graduate Certificate
        • Gifted Education, Graduate Certificate
        • Leadership in Technology Integration (Online), Graduate Certificate
        • Mathematics/​STEM Instructional Leader (PreK-​6) (Online), Graduate Certificates
        • Mind, Brain and Teaching (Online), Graduate Certificate
        • School Administration and Supervision, Graduate Certificate
        • Urban Education, Graduate Certificate
    • Centers &​ Institutes
    • Scholarships
    • State Authorization of Distance Education (NC-​SARA)
  • School of Medicine
    • General Information
      • Conduct in Teacher/​Learner Relationships (Student Mistreatment Policy)
      • Lectureships and Visiting Professorships
      • Loan Funds
      • Medical Student Advising
      • Named Professorships
      • Office of Medical Student Affairs
      • Scholarships
      • Student Research Scholarships and Awards
      • Tuition
      • Tuition and Other Fees
      • Young Investigators’ Day
    • Policies
    • Graduate Programs
      • Anatomy Education, MS
      • Applied Health Sciences Informatics, MS
      • Biochemistry, Cellular and Molecular Biology, PhD
      • Biological Chemistry, PhD
      • Biomedical Engineering, PhD
      • Biophysics and Biophysical Chemistry, PhD/​Molecular Biophysics, PhD
      • Cellular and Molecular Medicine, PhD
      • Cellular and Molecular Physiology, PhD
      • Clinical Anaplastology, MS
      • Clinical Informatics, Post-​Baccalaureate Certificate
      • Cross-​Disciplinary Program in Biomedical Sciences, PhD
      • Functional Anatomy and Evolution, PhD
      • Health Sciences Informatics, PhD
      • Health Sciences Informatics–Research, MS
      • History of Medicine, MA (On-​site)
      • History of Medicine, MA (Online)
      • History of Medicine, PhD
      • History of Medicine, Post-​Baccalaureate Certificate (Online)
      • Human Genetics and Genomics, PhD
      • Immunology, PhD
      • Medical and Biological Illustration, MA
      • Medical Physics, MS
      • Neuroscience, PhD
      • Pathobiology, PhD
      • Pharmacology, PhD
    • Medical Program
      • Doctor of Medicine, MD
      • MD-​PhD, Combined Degree
      • Subject Areas
        • Anesthesiology and Critical Care Medicine
        • Biological Chemistry
        • Biomedical Engineering
        • Biophysics and Biophysical Chemistry
        • Cell Biology
        • Department of Genetic Medicine
        • Dermatology
        • Emergency Medicine
        • Epidemiology
        • Functional Anatomy and Evolution
        • Gynecology and Obstetrics
        • Health Sciences Informatics
        • History of Medicine
        • Medicine
        • Molecular and Comparative Pathobiology
        • Molecular Biology and Genetics
        • Multi-​Department Courses
        • Neurology
        • Neuroscience
        • Oncology
        • Ophthalmology
        • Pathology
        • Pediatrics
        • Pharmacology and Molecular Sciences
        • Physical Medicine and Rehabilitation
        • Physiology
        • Psychiatry and Behavioral Sciences
        • Public Health
        • Radiation Oncology and Molecular Radiation Sciences
        • Radiology and Radiological Science
        • Section of Surgical Sciences
    • Postdoctoral Fellows
  • School of Nursing
    • Admission
    • Advising
    • Certificates
      • Healthcare Organizational Leadership, Post-​Master’s Certificate
      • Nursing Education, Post-​Master's Certificate
      • Pediatric Acute Care Nurse Practitioner, Post-​Master's Certificate
      • Psychiatric Mental Health Nurse Practitioner, Post-​Master's Certificate
    • Doctoral Degrees
      • Doctor of Nursing Practice, Advanced Practice Track
        • Adult-​Gerontological Acute Care Nurse Practitioner, DNP Advanced Practice Track
        • Adult-​Gerontological Critical Care Clinical Nurse Specialist, DNP Advanced Practice Track
        • Adult-​Gerontological Health Clinical Nurse Specialist, DNP Advanced Practice Track
        • Adult-​Gerontological Primary Care Nurse Practitioner, DNP Advanced Practice Track
        • Family Primary Care Nurse Practitioner, DNP Advanced Practice Track
        • Nurse Anesthesia, DNP Advanced Practice Track
        • Pediatric Critical Care Clinical Nurse Specialist, DNP Advanced Practice Track
        • Pediatric Dual Primary/​Acute Care Nurse Practitioner, DNP Advanced Practice Track
        • Pediatric Primary Care Nurse Practitioner, DNP Advanced Practice Track
        • Psychiatric Mental Health Nurse Practitioner, DNP Advanced Practice Track
      • Doctor of Nursing Practice: Executive Track
      • Nursing, Doctor of Philosophy
      • Doctor of Nursing Practice (DNP): Advanced Practice Track/​Doctor of Philosophy in Nursing (PhD) Dual Degree
    • Dual Degrees
      • DNP Executive/​MBA Dual Degree
      • DNP Executive/​MPH Dual Degree
      • Healthcare Organizational Leadership, MSN/​MBA, Dual Degree
    • Financial Aid
    • Master's Degrees
      • Entry into Nursing, Master of Science in Nursing
      • Healthcare Organizational Leadership Track, Master of Science in Nursing
    • Online Prerequisites for Health Professions
    • Policies
      • Academic Integrity Policy
      • Academic Standards for Progression
      • Administrative Leave
      • Absence and Attendance Policy
      • Canvas and SON IT Help
      • Clinical Placements
      • Clinical Warnings
      • Complaint/​Grievance Policy
      • Compliance
      • Course Policies
      • Criminal Conduct/​Background Check Policies
      • Drug Testing Policy
      • Email Policy
      • Examination Policy
      • Grading Policy
      • Health Insurance for Students
      • Incomplete Coursework
      • Independent Study Policy
      • Leave of Absence
      • Letters of Recommendation
      • NCLEX
      • Non-​Degree-​Seeking Students
      • Notification of Missed Clinical Time
      • Pet Guidelines
      • Printing and Copying
      • Professional Attire Policy
      • Professional Ethics Policy
      • Registration Policies and Procedures
      • Religious Observance Attendance Policy
      • Social Media Guidelines
      • Student Code of Conduct
      • Technical Standards for Admission and Graduation
      • Transcripts and Enrollment Verifications
      • Transfer of Graduate Credit
      • Withdrawal Policy
    • Student Accounts
    • Tuition and Fees
  • Whiting School of Engineering
    • Full-​time, On-​campus Undergraduate and Graduate Programs (Homewood)
      • Zanvyl Krieger School of Arts and Sciences &​ Whiting School of Engineering Full-​Time, On-​Campus Undergraduate and Graduate Policies
      • Departments, Program Requirements, and Courses
        • Applied Mathematics and Statistics
          • Applied Mathematics and Statistics, Bachelor of Arts
          • Applied Mathematics and Statistics, Bachelor of Science
          • Applied Mathematics and Statistics, Master of Science in Engineering
          • Applied Mathematics and Statistics, Minor
          • Applied Mathematics and Statistics, PhD
          • Data Science, Master's Degree
          • Financial Mathematics, Master of Science in Engineering
        • Biomedical Engineering
          • Bioengineering Innovation and Design, Master of Science in Engineering
          • Biomedical Engineering, Bachelor of Arts
          • Biomedical Engineering, Bachelor of Science
          • Biomedical Engineering, Master of Science in Engineering
          • Biomedical Engineering, PhD through the School of Medicine
        • Center for Leadership Education
          • Accounting and Financial Management, Minor
          • Engineering Management, Master of Science
          • Global Innovation and Leadership Through Engineering, Master of Science
          • Leadership Studies, Minor
          • Marketing and Communications, Minor
          • Professional Communication Program
          • Professional Development Program
          • W.P. Carey Entrepreneurship and Management, Minor
        • Chemical and Biomolecular Engineering
          • Chemical and Biomolecular Engineering, Bachelor of Science
          • Chemical and Biomolecular Engineering, Master of Science in Engineering
          • Chemical and Biomolecular Engineering, PhD
        • Civil &​ Systems Engineering
          • Civil Engineering, Bachelor of Science
          • Civil Engineering, Master of Science in Engineering (MSE)
          • Civil Engineering, Minor
          • Civil and Systems Engineering, PhD
          • Systems Engineering, Bachelor of Science
          • Systems Engineering, Master of Science
          • Systems Engineering, Minor
        • Computational Medicine
          • Computational Medicine, Minor
        • Computer Science
          • Computer Science, Bachelor of Arts
          • Computer Science, Bachelor of Science
          • Computer Science, Master of Science in Engineering
          • Computer Science, Minor
          • Computer Science, PhD
        • Doctor of Engineering
          • Engineering, Doctor of Engineering
        • Electrical and Computer Engineering
          • Computer Engineering, Bachelor of Science
          • Electrical and Computer Engineering, Master of Science in Engineering
          • Electrical and Computer Engineering, PhD
          • Electrical Engineering, Bachelor of Science
          • Energy, Minor
        • Environmental Health and Engineering
          • Engineering for Sustainable Development, Minor
          • Environmental Engineering, Bachelor of Science
          • Environmental Engineering, Minor
          • Environmental Sciences, Minor
          • Geography and Environmental Engineering, Master of Arts
          • Geography and Environmental Engineering, Master of Science
          • Geography and Environmental Engineering, Master of Science in Engineering
          • Geography and Environmental Engineering, PhD
          • Occupational and Environmental Hygiene, Master of Science
        • General Engineering
          • General Engineering, Bachelor of Arts
        • Information Security Institute
          • Security Informatics, Master of Science
          • Security Informatics, Master of Science/​Applied Mathematics and Statistics, Master of Science in Engineering Dual Master's Program
          • Security Informatics, Master of Science/​Computer Science, Master of Science in Engineering Dual Master's Program
        • Materials Science and Engineering
          • Materials Science and Engineering, Bachelor of Science
          • Materials Science and Engineering, Master of Science in Engineering
          • Materials Science and Engineering, PhD
        • Mechanical Engineering
          • Engineering Mechanics, Bachelor of Science
          • Mechanical Engineering, Bachelor of Science
          • Mechanical Engineering, Master of Science in Engineering
          • Mechanical Engineering, PhD
        • NanoBioTechnology
        • Robotics and Computational Sensing
          • Computer Integrated Surgery, Minor
          • Robotics, Master of Science in Engineering
          • Robotics, Minor
      • Multi-​School Programs of Study
        • Business, Minor
        • Peabody-​Homewood Double Degree Program
        • Space Science and Engineering
    • Part-​Time, Online Graduate Programs (Engineering for Professionals)
      • Academic Policies
        • Academic Calendar
        • Academic Regulations
        • Registration Policies
        • Tuition and Fees
      • Admission Requirements
      • Applied and Computational Mathematics
        • Applied and Computational Mathematics, Graduate Certificate
        • Applied and Computational Mathematics, Master of Science
        • Applied and Computational Mathematics, Post-​Master’s Certificate
      • Applied Biomedical Engineering
        • Applied Biomedical Engineering, Graduate Certificate
        • Applied Biomedical Engineering, Master of Science
        • Applied Biomedical Engineering, Post-​Master’s Certificate
      • Applied Physics
        • Applied Physics, Master of Science
        • Applied Physics, Post-​Master’s Certificate
      • Artificial Intelligence
        • Artificial Intelligence, Graduate Certificate
        • Artificial Intelligence, Master of Science
      • Chemical and Biomolecular Engineering
        • Chemical and Biomolecular Engineering, Master of Chemical and Biomolecular Engineering
      • Civil Engineering
        • Civil Engineering, Graduate Certificate
        • Civil Engineering, Master of Civil Engineering
      • Computer Science
        • Computer Science, Graduate Certificate
        • Computer Science, Master of Science
        • Computer Science, Post-​Master’s Certificate
      • Cybersecurity
        • Cybersecurity, Graduate Certificate
        • Cybersecurity, Master of Science
        • Cybersecurity, Post-​Master’s Certificate
      • Data Science
        • Data Science, Graduate Certificate
        • Data Science, Master of Science
        • Data Science, Post-​Master’s Certificate
      • Electrical and Computer Engineering
        • Electrical and Computer Engineering, Graduate Certificate
        • Electrical and Computer Engineering, Master of Science
        • Electrical and Computer Engineering, Post-​Master’s Certificate
      • Engineering Management
        • Engineering Management, Graduate Certificate
        • Engineering Management, Master of Engineering Management
      • Environmental Engineering, Science, Management, and Sustainability Programs
        • Climate Change, Energy, and Environmental Sustainability, Graduate Certificate
        • Climate, Energy, and Environmental Sustainability, Master of Science
        • Environmental Engineering
          • Environmental Engineering, Graduate Certificate
          • Environmental Engineering, Master of Environmental Engineering
          • Environmental Engineering, Post-​Master’s Certificate
        • Environmental Engineering and Science
          • Environmental Engineering and Science, Graduate Certificate
          • Environmental Engineering and Science, Master of Science
          • Environmental Engineering and Science, Post-​Master’s Certificate
        • Environmental Planning and Management
          • Environmental Planning and Management, Graduate Certificate
          • Environmental Planning and Management, Master of Science
          • Environmental Planning and Management, Post-​Master’s Certificate
      • Financial Mathematics
        • Financial Mathematics, Master of Science
        • Financial Risk Management, Graduate Certificate
        • Quantitative Portfolio Management, Graduate Certificate
        • Securitization, Graduate Certificate
      • Healthcare Systems Engineering
        • Healthcare Systems Engineering, Master of Science
      • Industrial and Operations Engineering
        • Industrial and Operations Engineering, Master of Science
      • Information Systems Engineering
        • Information Systems Engineering, Graduate Certificate
        • Information Systems Engineering, Master of Science
        • Information Systems Engineering, Post-​Master’s Certificate
      • Materials Science and Engineering
        • Materials Science and Engineering, Master of Science
      • Mechanical Engineering
        • Mechanical Engineering, Master of Science
        • Mechanical Engineering, Post-​Master’s Certificate
      • Occupational and Environmental Hygiene
        • Occupational and Environmental Hygiene, Master of Science
      • Robotics and Autonomous Systems
        • Robotics and Autonomous Systems, Master of Science
      • Space Systems Engineering
        • Space Systems Engineering, Master of Science
        • Space Systems Engineering, Post-​Master's Certificate
      • Systems Engineering
        • Systems Engineering, Graduate Certificate
        • Systems Engineering, Master of Science
        • Systems Engineering, Master of Science in Engineering (ABET-​accredited)
        • Systems Engineering, Post-​Master’s Certificate
  • Zanvyl Krieger School of Arts and Sciences
    • Full-​time, On-​campus Undergraduate and Graduate Programs (Homewood)
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Department website: http://writingseminars.jhu.edu/

The Writing Seminars exists to help students combine imaginative writing with scholarship in the general context of the humanities.

Programs

  • Writing Seminars Minor
  • Writing Seminars, Bachelor of Arts
  • Writing Seminars, Master of Fine Arts

For current course information and registration go to https://sis.jhu.edu/classes/

Courses

On This Page
    • Cross Listed Courses
      • Comparative Thought and Literature
      • Film and Media Studies
      • First Year Seminars
      • Interdepartmental
      • Modern Languages and Literatures
      • Theatre Arts & Studies
AS.220.105.  Introduction to Fiction & Poetry I.  3 Credits.  

An introduction to basic strategies in the writing of poetry and fiction, with readings by Baldwin, Joyce, Lahiri, Garcia Marquez, Munro, Woolf, Donne, Bishop, Brooks, Komunyakaa, Tretheway, and others. Students will learn the elements of the short story and try their hand at a variety of forms: realist, fantastical, experimental. They’ll also study the basic poetic forms and meters, from the ballad to the sonnet, iambic pentameter to free verse. Students will compose short stories and poems and workshop them in class. This course is a prerequisite for most upper-level courses. This course is part one of the year-long Introduction to Fiction and Poetry and must be taken before AS.220.106

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.106.  Introduction to Fiction & Poetry II.  3 Credits.  

The second half of IFP, this course delves deeper into the finer points of fiction writing, including tone, description, and point of view; students will also enrich their knowledge of poetic forms and devices, such as figurative language, verse rhythm, and the poetic line. Readings include work by Achebe, Atwood, Calvino, Ishiguro, Maria Machado, Zadie Smith, Auden, Keats, Ada Limón, Li-Young Lee, Rankine, and others. Students will write and workshop their own stories and poems, and they will complete a final portfolio. This course is a prerequisite for most upper-level courses.

Prerequisite(s): AS.220.105 or AS.220.108

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.107.  Podcasting: Telling Stories in Sound.  3 Credits.  

In this introductory course, students will ultimately create their own short podcasts around stories that are meaningful to them and their intended audiences. Students will enact principles of listener-centered design, they’ll work to find stories worth telling, and they’ll learn to tell those stories powerfully. This course will build competency in recording and editing techniques, interviewing skills, creating story structure, and understanding the potential social impact of documentary work. Students will also study current monetization strategies in the booming podcast market and learn how to find, keep, and grow an audience.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Citizens and Society (FA4), Democracy (FA4.1), Projects and Methods (FA6)

Writing Intensive

AS.220.108.  Introduction to Fiction & Nonfiction.  3 Credits.  

This course introduces the foundational strategies for writing literary fiction and nonfiction. Drawing on a diverse selection of literary models, students will engage in “creative experiments,” eventually submitting a short story or literary essay for class discussion and feedback. AS.220.105 can be substituted for AS.220.108.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.138.  Creative Writing.  1 Credit.  

Enjoy the opportunity to develop your creative writing skills. You will work in both fiction and poetry. Through a combination of robust discussion, writing exercises, and substantial feedback, you will learn about imagery, voice, narrative structure, and other aspects of the writer’s craft. The reading list will include a diverse range of contemporary authors. There will be a strong emphasis on collaborative workshopping, during which you will discuss one another’s works in progress.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

AS.220.200.  The Craft of Fiction.  3 Credits.  

Study in the reading and writing of short fiction with focus on basic technique: subject, narrative voice, character, sense of an ending, etc. The analysis and discussion of published stories, both classic and modern, will be paired with weekly fiction exercises. In the second half of the semester, students will write and workshop one finished story.

Prerequisite(s): AS.220.106 can be taken prior to enrolling in or at the same time as AS.220.200.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.201.  The Craft of Poetry.  3 Credits.  

A study of the fundamentals and strategies of poetry writing. This course combines analysis and discussion of traditional models of poetry with workshop critiques of student poems and student conferences with the instructor.

Prerequisite(s): AS.220.106 can be taken prior to or at the same time as AS.220.201.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.202.  Readings in Poetry: The Poet as a Storyteller.  3 Credits.  

In this class, we'll explore various strategies that poets have used when writing longer verse narratives. Readings will include contemporary work by Anne Carson, Christopher Logue, and Claudia Rankine, as well as historical epics such as Gilgamesh, Beowulf, and Gawain and the Green Knight. Although this class is a readings course, not a workshop, students will have the opportunity to develop narrative poems of their own.

Prerequisite(s): AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.203.  Considering Ourselves: Adventures in Autobiography.  3 Credits.  

The aim of the course is twofold: to give a sketch of the history of English-language autobiographical writing, and to encourage students to work on their own autobiographical projects. To this end, the weekly meetings will be divided into two parts: in the first part, I’ll be allocating three extracts from existing autobiographies for discussion (some relatively ancient, some modern), and in the second part we'll discuss extracts from the on-going work of two class members. In other words, applicants to the course should expect to read and comment on several pieces of existing work each week, as well as undertaking a semester-long autobiographical project of their own devising.

Prerequisite(s): AS.220.105 OR AS.220.108

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.207.  Writing the Unreal.  3 Credits.  

"We left what we felt at what we saw,” the poet Wallace Stevens once wrote, suggesting writing involves a direct response to our experiences of reality. In this class, we’ll look exclusively at writing which takes on what hasn’t been seen, and hasn’t been felt. Through reading works of science fiction, magical realism, gothic literature, and speculative fiction, students will investigate how the unreal can still speak to our experiences and perceptions of the real. Additionally, students will get the chance to craft their own fantastical worlds through regular writing assignments. Tales of time travelers, haunted houses, unreal languages, and reimagined cities will be covered. Readings will include selections from Paul Beatty, Octavia Butler, Italo Calvino, Ursula K. Le Guin, Yoko Ogawa, and Mary Shelley.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.220.212.  Line and Lineage: A Survey of Poetry Writing.  3 Credits.  

This course will be a chronological exploration of English-language poetry. We will examine not only the literature of the past, but also the ways in which a diverse range of contemporary writers have extended, challenged, and reimagined literary tradition. Throughout the semester we will pay especially close attention to the question of how a writer’s management of the poetic line can shape a poem's structure, context, and meaning. Although this is a lecture-based class, not a workshop, participants will have many opportunities to respond artistically to the course readings.

Prerequisite(s): AS.220.106

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.215.  Writing for Children and Young Adults.  3 Credits.  

Writing and selling engaging children’s literature is not child’s play. In this intensive writing workshop, students will continue to work on the time-tested principles of storytelling and apply them to the practice of describing the world from a young person’s perspective. Weekly assignments will include the analysis of a wide range of contemporary books, writing exercises in a variety of genres (board books, picture books, early readers, and novels for middle grade students and young adults), and peer-review critique sessions. In the final weeks of class, students will also learn how to pitch their writing to an agent and/or publisher who specializes in Childrens/YA literature.

Prerequisite(s): AS.220.106

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.217.  Readings in Poetry: Lives of the Poets: Elizabeth Bishop, Gwendolyn Brooks, and Anthony Hecht.  3 Credits.  

“The intellect of man is forced to choose / perfection of the life, or of the work,” wrote W. B. Yeats. This course examines important intersections between the lives and works of three major 20th-century American poets. The course will consider how a poet's life story might provide a crucial context for their poems, and what their poems might reveal about their life.

Prerequisite(s): AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.220.  Reading Korean Literature in Translation: A Survey.  3 Credits.  

An introduction for students unfamiliar with the Korean language but interested in Korean culture / literature. Students will read a variety of translated texts, especially of works written in the 20th and early 21st centuries by authors including Kim Tong-in, Hwang Sun-won, Pak Wanso, Hwang Sok-yong and Han Kang; there will also be classes on traditional sijo poetry. Students will become familiar with Korean literary genres and formal features, and develop a broad understanding of the historical and sociocultural context of Korean literature.

Prerequisite(s): AS.220.105

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.231.  Art of the Personal Essay.  3 Credits.  

This course explores the art and craft of the personal essay. Deriving from the French essayer, to attempt, students bring a sense of investigation to the characteristics, presence, and quality of ideas, cultural zeitgeist, and the human experience. Through personal narrative exploration, essayists write toward universal themes (family, loss, belonging, social justice) and experiment with modes and forms of creative nonfiction. Students will employ research, explore personal experience, and develop their own voice, style, and storytelling craft. Students will interrogate the self and the self in the world, shaping the “I” on the page. The course builds on material covered in Introduction to Fiction & Poetry and/or Introduction to Fiction & Nonfiction and will prepare students for advanced study. This readings-based course is also writing-intensive, including in-class exercises, brief creative posts, essay drafts, revisions, and workshop. Readings/models for the course include authors Seneca, Sei Shonagon, Michel de Montaigne, James Baldwin, Melissa Febos, Vivian Gornick, Audre Lorde, Toni Morrison, JoAnn Beard, Zadie Smith, Jia Tolentino, Mark Twain, and more.

Prerequisite(s): AS.220.105 OR AS.220.108

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.240.  Exploring Rome as a Writer.  3 Credits.  

This creative writing workshop offers both new and experienced writers a chance to spend five weeks in Rome, making an artistic exploration of the Eternal City that inspired Keats, Shelley, Goethe, and, more recently, Jhumpa Lahiri. Students are welcome to work in prose, poetry, or both. Though the emphasis of the program will be the creation of new work, students will participate in a mult-genre workshop where they will receive feedback from classmates and the instructor.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.300.  Intermediate Poetry: Poetry and Climate Change.  3 Credits.  

This course will look at the way poets are responding to the climate crisis; it will concentrate on contemporary work, but set this in context by comparing it to ‘nature poetry’ written since the Romantic period. There will also be a chance for students to write and discuss their own poems on this subject.

Prerequisite(s): AS.220.106 and AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.220.301.  Readings in Fiction: Writing the Fantastical.  3 Credits.  

Why write in a non-realist mode? What is involved in building a convincing altered reality? This course will examine fantastical writing's formal inventiveness, its capacious metaphorical qualities, and its explorations of complicated, unsettling truths. Students will write short critical and creative responses throughout the semester, as well as a final longer creative piece. Authors may include Margaret Atwood, Kazuo Ishiguro, Ling Ma, Toni Morrison, Jenny Offill, George Saunders, and Coleson Whitehead.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.302.  Intermediate Fiction: Adventures in Form.  3 Credits.  

This intermediate workshop will explore questions of form in fiction. Students will read classically structured stories, as well as stories that are written as inventories, how-to manuals, and excruciatingly personal resumés. Readings from writers including Kathleen Collins, Annie Ernaux, Gwen Kirby, Deesha Philyaw, and Weike Wang will inform our discussions of form and inspire writing exercises in and out of class. Students will write, workshop, and revise stories of their own. This course builds upon the ideas and themes covered in Introduction to Fiction and Poetry I, IFP II, and Craft of Fiction, and will prepare students for advanced fiction courses.

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.303.  Intermediate Fiction: I, You, They, She, He, We--Exploring Points of View in the Short Story.  3 Credits.  

This intermediate fiction workshop will explore the use of point of view in the short story, considering the narrative reasons we might choose a particular perspective (and consciousness) when writing. We'll take a close look at published short fiction, examining the ways specific points of view impact our experience as readers, and we'll analyze the various strategies we can learn from these works. Students will share their work throughout the semester, both in small groups and in a larger workshop.

Prerequisite(s): AS.220.106 and AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.304.  Intermediate Fiction: Characterization.  3 Credits.  

This course is primarily a workshop; students will each write and workshop two short stories. Additional shorter writing assignments will focus on character development and characterization. We will consider how writers create characters capable of surprise and contradiction, how we balance writing a person’s interior life with writing their external presentation, how characters’ competing desires can fuel plot or narrative tension, and how we might think about characterization as a way of exploring power dynamics between the people in a story. We’ll also read and discuss published work that succeeds in creating layered and memorable characters, including writing by Dawnie Walton, Jennifer Egan, James Baldwin, James Joyce, Nam Le, Ling Ma, Lauren Groff, Asali Solomon, and Alice Munro.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.305.  Readings in Fiction: The Novella or The Short Novel.  3 Credits.  

First of all, what’s the difference? We’ll begin by discussing these labels and the various works these labels might illuminate. Ian McEwan writes of ‘the novella’: Let’s take, as an arbitrary measure, something that is between twenty and forty thousand words, long enough for a reader to inhabit a world or a consciousness and be kept there, short enough to be read in a sitting or two." McEwan promptly goes on to name “The Dead” – 15,000 words – as “the great novella.” Clearly, rules are made to be broken. In this class we’ll read approximately one novella/short novel per week. Students should expect to write a brief critical response every week, and to give two presentations, one on a selection from the syllabus, and one on a selection of their own choosing that they feel exemplifies the label ‘novella.’

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.306.  Hybrid Forms.  3 Credits.  

In this class we will experiment in genre bending, reading and writing hybrid works that thoughtfully push past the boundaries of genre toward new ways of writing, thinking, knowing, and creating. Readings may include Anne Carson’s “The Glass Essay,” Jean Toomer’s Cane, and Justin Torres’s Blackouts, among others, and will consider influences reaching as far back as Basho’s 17th-century Narrow Road to the Deep North. We will nurture verse that appears amidst prose; prose that arrives as poetry; fiction that incorporates images, documents, and poetic interventions; and writing that shapeshifts across genres and sometimes mediums, defying easy classification. As writers and as readers, we will bring our training within genres to work across, between, and beyond genres.

Prerequisite(s): AS.220.106 AND (AS.220.200 OR AS.220.201)

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.308.  Intermediate Fiction: Past, Present, Future: Considering Time and Perspective in Fiction.  3 Credits.  

This course is primarily a workshop; students will each write and workshop two short stories. Additional shorter writing assignments will focus on the management of time in fiction. We will consider how and when writers make use of time shifts within a story, how choosing the point in time from which a story is being told shapes its tone and structure, and how to move through time frames without creating confusion. We’ll also read and discuss published work that uses time in interesting ways, including writing by Alice Munro, Lauren Groff, Ling Ma, Edward P. Jones, Yiyun Li, David Means, Jamel Brinkley, Alice Sola Kim, Jennine Capó Crucet, and Virginia Woolf.

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.311.  Intermediate Fiction:.  3 Credits.  

Topic changes by term.

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.319.  Intermediate Fiction: Crafting Memorable Voices.  3 Credits.  

When we recall our favorite works of fiction, it is often their voice that first comes to mind. This course will explore how narrators enchant us with their voice, focusing on such matters as perspective, syntax, word choice and how even deceptively impartial omniscience takes on a unique and memorable voice. Fiction readings to include: Paul Bowles, Toni Cade Bambara and Ismail Kadare. Craft readings to include: Christopher Castellani and John Gardner. Writing assignments will be both expository and creative.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.320.  Readings in Poetry: The Dyer's Hand: Shakespeare and Modern Poetry.  3 Credits.  

This course explores the presence of Shakespeare as a source in modern poetry and as a potential resource for student writing. We will discuss the connections between King Lear, Hamlet, and The Tempest and poems by W. H. Auden, Langston Hughes, Hyam Plutzik, Emily Dickinson, Rita Dove, and others.

Prerequisite(s): AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.321.  Intermediate Fiction: Finishing Touches: How Stories End.  3 Credits.  

Typically, stories are easy to start and difficult to conclude. This course will look at various ways in which stories end rewardingly. Close attention will be paid to final paragraphs. We will ask questions like: Do satisfying endings fall into categories? Can we generalize about how stories ought to end? Do some writers have a gift for endings? Readings to include: Sylvia Townsend Warner, Muriel Spark, Alice Munro. Assignments will include both expository and creative writing.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.327.  Intermediate Fiction: Characters.  3 Credits.  

Epic journeys, domestic dramas, quiet meditations on the human condition—whatever the story is, our investment in a given narrative often depends on our attachment to its characters, those compelling and complex enough that we want to follow them, from first page to the last. But what makes a character compelling and complex? And how do we create these characters in our stories? In this intermediate fiction course, we’ll take a deep dive into the art of characterization, and study the various strategies and techniques used in developing fictional characters. We’ll read published fiction by contemporary writers such as Edward P. Jones, Annie Proulx, and Jhumpa Lahiri, and examine the ways they bring their characters to three-dimensional life, and in the process create stories that linger beyond the final page.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.338.  Intermediate Fiction: Developing Subtext.  3 Credits.  

In this course, students will write and workshop two original stories. Additional generative writing exercises will explore the ways a writer can develop subtext in their work. How can character details work in parallel with elements of setting? How can a setting be instrumental in advancing a plot? How can finely tuned, sentence-level details, parallel images, foreshadowing, and figurative language give a story a cohesive sensibility and rich subtext? We'll read stories by writers including Stephanie Vaughn, Laura van den Berg, Rickey Fayne, Haruki Murakami, and craft essays by Matthew Salesses, Charles Baxter, and more.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.348.  Creative Nonfiction Workshop: The Personal and the Public.  3 Credits.  

In this writing workshop, we will study a variety of creative nonfiction essays by a diverse group of writers including James Baldwin, Joan Didion, Richard Rodriguez, Zadie Smith, John Jeremiah Sullivan, and more. Drawing on the narrative strategies of memoirists as well as the research practices and expository methods of journalists, students will explore new ways to enrich and deepen their own creative work.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Citizens and Society (FA4), Projects and Methods (FA6)

Writing Intensive

AS.220.363.  Intermediate Fiction: Writing about Adolescence.  3 Credits.  

Only fairly recently has adolescence been recognized as a developmental period distinct from childhood or adulthood. In this course, we'll read a range of classic and contemporary literature that takes on the challenge of writing about this complicated and fraught stage of life. Readings may include work by Shakespeare, Louisa May Alcott, Colson Whitehead, Louise Erdrich, and others. Students will write and workshop their own stories or novel chapters.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.377.  Intermediate Poetry: Poetic Forms.  3 Credits.  

Poetic Forms I fulfills one of the Intermediate requirements for The Writing Seminars Major. It deals with rhyme, meter, traditional forms, and ad hoc forms of students' own making. Whether you are a poet, novelist, song writer, science writer, or dramatist, this course will help you master lines and sentences even better.

Prerequisite(s): AS.220.106 AND AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.378.  Contemporary Poetic Forms.  3 Credits.  

In Contemporary Poetic Forms, we will look at exciting, mostly younger poets writing in a wide array of metrical forms. From Anthony Hecht to Erica Dawson, you will read a book a week and write eleven poems, and the assignments will be keyed but not beholden to those challenging authors.

Prerequisite(s): AS.220.106 AND AS.220.201[C]

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.391.  Performing Poetry & Fiction: An Acting Workshop for Writers.  3 Credits.  

This hands-on performance workshop, combining literary and theatrical practice, will look closely at what makes a performance or reading compelling, clear, and resonant. Through textual analysis, vocal technique, and group discussion, students will create a pliant and powerful reading style to best serve their work. The course includes regular writing assignments in poetry and fiction and weekly performance and group discussion.

Prerequisite(s): AS.220.106 AND (AS.220.200 OR AS.220.201)

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.394.  Intermediate Fiction: Place, Setting, and Landscape.  3 Credits.  

This course is primarily a workshop; students will each write and workshop two short stories. Additional shorter writing assignments will focus on writing about places, both real and imagined. We will think about the work of description at the sentence level, but also about the relationship between place, character and memory. We’ll read work by writers who are known for their ability to evoke or capture in detail a particular setting, potentially including work by Edward P. Jones, Zadie Smith, Eudora Welty, Annie Dillard, Grace Paley, Victor Lavalle, Viet Than Nguyen, and Joan Didion.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.395.  Intermediate Fiction: Narrative Time.  3 Credits.  

How can a subplot inform a reader's understanding of a story's protagonist? How can a story with multiple protagonists and plotlines reveal theme? This intermediate fiction writing class will focus on student writing and on published stories that are interestingly or intricately plotted. Parallel texts by Andrea Barrett, Edward P. Jones, Alice Munro, Amy Hempel, Barret Swanson, Dantiel W. Moniz, and others will give students the opportunity to examine concrete examples of intricately plotted stories while also putting some plotting techniques to the test in their own short fiction.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.400.  Advanced Poetry Workshop.  3 Credits.  

In this course we’ll explore poetic responses to myth and legend, looking at how poets from different cultures and eras have responded imaginatively to established stories about gods, heroes, and the supernatural, whether for the sake of aligning themselves with tradition, or for the sake of challenging it. Our discussions will take place in the context of a rigorous poetry workshop, where students will experiment with figurative language, management of the line, narrative organization, and the control of rhythm in both form and free verse. At the end of the semester students will turn in a final portfolio of revised poems, accompanied by a reflective letter that demonstrates a mature understanding of verse technique.

Prerequisite(s): AS.220.106 and AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.401.  Advanced Fiction Workshop.  3 Credits.  

Topics in Advanced Fiction

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.402.  Advanced Poetry: The Making and Remaking of Style.  3 Credits.  

This class is an advanced seminar on poetic technique, including the use of figurative language, management of the line, narrative organization, and the control of verse rhythm. By making an in-depth study of several poets' work, students will gain a fuller understanding of what it means to arrive at a distinct poetic style and to develop that style over from one book to the next. Students will write poems throughout the semester and eventually submit a portfolio of revised work, accompanied by an artist statement.

Prerequisite(s): AS.220.106 AND AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.415.  Community-Based Learning: Teaching Creative Writing in Baltimore Schools.  3 Credits.  

In this course, students will work alongside writing teachers from the non-profit organization Writers in Baltimore Schools (WBS) to lead creative writing workshops in local public elementary and middle schools. Students and WBS teachers will also meet as a group once a week to plan classes, discuss pedagogy, and share ideas. Students will write weekly responses to reading assignments, write reflections on the volunteer experience, and help to assemble a final project at their worksite. Upon completion of the class, students will have the opportunity to apply to become instructors with Writers in Baltimore Schools. Please note that the weekly writing group you will co-lead will occur outside of class. Groups meet either during the school day or after school. We will work with you to find a group that fits your schedule.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.220.416.  Community-Based Learning: Undergraduate Teaching Fellowship.  3 Credits.  

Students who have completed the fall class "Teaching Creative Writing in Baltimore Schools" are eligible for this class in the spring semester. As Teaching Fellows, students continue to work alongside writing teachers from the non-profit organization Writers in Baltimore Schools (WBS) to plan and lead creative writing workshops in local public elementary and middle schools. Class discussions will move into deeper explorations of topics like student-centered pedagogy, community building, and educational equity. Teaching Fellows will have opportunities for greater leadership at their worksites and will create resources for benefit of their students and future generations of Teaching Fellows.

Prerequisite(s): AS.220.415

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.220.422.  Readings in Fiction: Race, Passing, and Performance.  3 Credits.  

This course will explore the context and craft of racial passing texts in the U.S, asking students to think critically about literal passing narratives and their persistence over time, and more broadly about how we write about cultural passing, codeswitching, and identity as conscious performance. We’ll start with texts that ground us in the genre—Chopin, Larsen, Fauset, Ellison, and Morrison—and read our way into contemporary texts, potentially including work by Danzy Senna, Mat Johnson, Brit Bennett, Min Jin Lee, and Marcelo Hernandez Castillo. Students will write a critical paper, a craft paper, and a short story or novella.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4), Democracy (FA4.1)

Writing Intensive

AS.220.424.  Science and Storytelling: The Narrative of Nature, the Nature of Narrative.  3 Credits.  

Class reads the writings of scientists to explore what their words would have meant to them and their readers. Discussion will focus on the shifting scientific/cultural context throughout history. Authors include Aristotle, Copernicus, Galileo, Descartes, Newton, Darwin, Freud, Einstein, Heisenberg, Bohr, Crick and Watson.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Science and Data (FA2), Citizens and Society (FA4)

Writing Intensive

AS.220.437.  Creating the Poetry Chapbook.  3 Credits.  

Students will build on previous work in the major by completing a project of sustained length, depth, and cohesion (15 - 25 pages). This capstone course is open by application.

Prerequisite(s): AS.220.106 AND AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.443.  Readings in Poetry: International Voices.  3 Credits.  

International voices will combine the workshopping of poems by students with a study of contemporary poems written by black British writers and British writers in dialect, African-American writers, Caribbean writers, and Indian and South African poets who are writing in English. The study of broad themes and subjects will be combined with a particular appreciation of linguistic and acoustic matters - which means among other things that time will be spent listening to and evaluating recordings of the poets concerned.Writing Seminars Majors Only

Prerequisite(s): AS.220.201

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.454.  Community-Based Learning.  3 Credits.  

In this Community-Based Learning course, students will explore poetry of social and political concern in partnership with high-school age writers from Baltimore public schools. Students will put learning into practice by engaging in community conversation and collaboration. Participation in some events outside of class time will be required.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.220.455.  Readings in Fiction: Low, High, and Back Again: Experiments in Genre.  3 Credits.  

In this course, we'll take a look at the increasingly obsolete notion of “genre fiction” and the way that many contemporary writers are borrowing the conventions of once-frowned-upon genres, from sci-fi to horror to crime, and imbuing them with the concerns of the “literary novel” (character, language, social critique, etc.). The course will pair classics of genre fiction with more contemporary works that take the genre in surprising directions. We'll also do a fair bit of writing ourselves, experimenting with various genres. Authors might include Mary Shelley, Colson Whitehead, Philip K. Dick, Kazuo Ishiguro, Edgar Allen Poe, Carmen Machado, Raymond Chandler, Joan Didion, Zane Grey, and Charles Portis.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.456.  The Long Work.  3 Credits.  

A course in the composition of a novella, short-story collection, or section of a novel. Students will build on previous work in the major by writing and revising a project of 50 to 60 pages of fiction. This capstone course is open by application.

Prerequisite(s): AS.220.106 AND AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

AS.220.457.  Readings in Fiction: 21st Century Fiction: The American Short Story in the Last Twenty Years.  3 Credits.  

With the 21st century 22 years old, it seems like a good time to ask ourselves what’s going on with the American short story. What can it tell us about our various identities, individual and collective? Is it reflecting our current reality, transforming it, or both? Is it undergoing formal changes to better engage with our transformative times, and if not, should it be? Is contemporary fiction as diverse as our nation itself, and if not, what might account for such shortfalls in representation, and what might be the effects? Our reading list is likely to include such authors as Carmen Maria Machado, Yoon Choi, Bennett Sims, Charles Yu, Jamel Brinkley, ZZ Packer, Kali Fajardo-Anstine, Nana Kwame Adjei-Brenyeh, Dantiel W. Moniz, Claire Vaye Watkins, Kimberly King Parsons, Kirsten Valdez Quade, Ted Chiang, Danielle Evans, Karen Russell, George Saunders, and Bryan Washington. Students will write short critical and creative responses throughout the term, as well as a final longer creative piece.

Prerequisite(s): AS.220.200

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.458.  Readings in Poetry: Divergencies: British Poetry Since 1945.  3 Credits.  

The course will workshop the original work of participants, while also looking at the major figures of immediately post-war British Poetry (Philip Larkin, Ted Hughes) and the diversification of writing that has appeared in more recent years. Among the writers to be discussed are : Simon Armitage, Mary Jean Chan, Imtiaz Dharker, Carol Ann Duffy, Sarah Howe, Linton Kwesi Johnson, Jackie Kay, Grace Nichols, Alice Oswald, Hannah Sullivan and Roger Robinson.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.220.460.  Community-Based Learning: Nonfiction and Social Engagement.  3 Credits.  

In this Community-Based Learning course, students will read and write memoir and discuss issues of social concern with high-school age writers from Baltimore public schools in partnership with the organization Writers in Baltimore Schools Please note that this class is not a traditional workshop focusing on critique, but will instead explore how writing can build connection, foster conversation, and bring together writers from diverse communities.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.220.501.  Independent Study.  1 - 3 Credits.  

Ordinarily no more than one independent study course may be counted among the eight Writing Seminars courses presented for graduation.

Prerequisite(s): You must request Independent Academic Work using the Independent Academic Work form found in Student Self-Service: Registration, Online Forms.

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

AS.220.502.  Independent Study.  1 - 3 Credits.  

Individual, guided study under the direction of a faculty member in the department. Undergraduates only.

Prerequisite(s): You must request Independent Academic Work using the Independent Academic Work form found in Student Self-Service: Registration, Online Forms.

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

AS.220.509.  Professional Internship.  1 Credit.  

The Professional Internship is a one-credit independent course created to document internships in journalism, publishing, the arts, or other writing-related fields. Internships require a minimum of 120 work hours and a short final paper. Permission required. Satisfactory/ Unsatisfactory only.

Prerequisite(s): You must request Independent Academic Work using the Independent Academic Work form found in Student Self-Service: Registration, Online Forms.

AS Foundational Abilities: Writing and Communication (FA1), Projects and Methods (FA6)

AS.220.510.  The Hopkins Review Professional Internship.  1 Credit.  

The Professional Internship is a one-credit independent course created to document internships in journalism, publishing, the arts, or other writing-related fields. Internships require a minimum of 120 work hours and a short final paper. Permission required. Satisfactory/ Unsatisfactory only.

Prerequisite(s): You must request Independent Academic Work using the Independent Academic Work form found in Student Self-Service: Registration, Online Forms.

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

AS.220.513.  Teaching Writing.  3 Credits.  

Permission Required.

Prerequisite(s): You must request Independent Academic Work using the Independent Academic Work form found in Student Self-Service: Registration, Online Forms.

AS Foundational Abilities: Writing and Communication (FA1), Projects and Methods (FA6)

AS.220.604.  Readings in Fiction: Personal Touchstones.  3 Credits.  

The course explores the notion of one's own personal anthology--the books that mean the most to one over the decades, the books one keeps returning to. In addition to the assigned reading, each student will be asked to come up with a list of books (not read in this class) of great personal significance and to analyze in class the things one's personal touchstones have in common. Assigned readings will be drawn from two genres: the epic (Derek Walcott's Omeros, Halldor Laxness's Independent People) and the comic or light novel (Jane Austen's Persuasion, E. M. Forster's Room with a View, Laxness's The Fish Can Sing, Evelyn Waugh's A Handful of Dust, Muriel Spark's The Prime of Miss Jean Brodie, Kingsley Amis's Ending Up, Mark O'Donnell's Getting Over Homer).

Distribution Area: Humanities

AS.220.605.  Readings in Fiction: The Novella.  3 Credits.  

What even is a novella? Ian McEwan offers this starting point: Let’s take, as an arbitrary measure, something that is between twenty and forty thousand words, long enough for a reader to inhabit a world or a consciousness and be kept there, short enough to be read in a sitting or two and for the whole structure to be held in mind at first encounter.”McEwan promptly goes on to name “The Dead” – 15,000 words – as “the great novella,” so clearly rules are made to be broken. Whatever exactly we think the novella is, it offers unparalleled lessons for us in how to forge narrative structure that is lacking in superfluity and enormous of impact. Every week we will read at least one “novella;” sometimes we will read two; we will write weekly brief critical responses to our reading which will focus on craft; and each student will present on one of the assigned works in the course of the semester. Our reading list may include works by such authors as James Joyce, Edith Wharton, Nella Larsen, Alice Munro, Toni Morrison, Katherine Anne Porter, Philip Roth, Shirley Jackson, Muriel Spark, Jean Rhys, Jane Smiley, George Saunders, Gabriel Garcia Marquez, and Jenny Erpenbeck.

Distribution Area: Humanities

AS.220.610.  Readings in Poetry: Poetic Voice and Vision.  3 Credits.  

In this class we’ll focus on issues of poetic voice, the at times slippery formal element that binds the reader and the poem’s speaker together. We’ll discuss the cultivation of intimacy (or lack thereof), registers of speech, use of vernacular, foregrounding of person and/or place, and more. Ultimately, we’ll use voice as an essential tool to understand a poet’s aesthetic vision. Possible poets of interest include Audre Lorde, Walt Whitman, Carl Philips, Emily Dickenson, James Schuyler, CD Wright, Li Young Lee, Martin Espada, Elizabeth Bishop, Philip Levine, Sylvia Plath, Joy Harjo, Marianne Moore, and others.

Distribution Area: Humanities

AS.220.611.  Readings in Fiction: Shape, Story, and Experiments in Structure.  3 Credits.  

How is our experience of a novel's story affected by its form? We'll discuss some traditional structures, including mystery plots and the three-act structure, before moving on to works whose forms bend or break various storytelling conventions. Authors may include Vladimir Nabokov, Susan Choi, Zadie Smith, Tommy Orange, Lorrie Moore, Edward P. Jones, Carol Shields and others.

Distribution Area: Humanities

AS.220.612.  Readings in Poetry: The Long Poem.  3 Credits.  

This course will be an artistic exploration of the long poem. Throughout the semester we’ll read a diverse range of work by both contemporary and non-contemporary writers, paying particular attention to the question of how a poem’s dramatic intensity or lyric charge can be maintained when a poet is writing at length. Instead of submitting individual poems to a weekly workshop, students in this class will submit successive drafts of a long poem, which they will continue developing over the course of the entire semester.

Distribution Area: Humanities

AS.220.613.  Readings in Poetry: Black Women, Radical Writing.  3 Credits.  

This graduate Readings course will focus on the 2018 anthology Letters to the Future: Black Women/Radical Writing, which we will read alongside books by some of the individual poets whose work it celebrates. We will explore a variety of possibilities of form, theme, and conceptions of poetry, of language, of Blackness, of gender, of what and how it means to write radically, to write to the future, to write out of the past. While acknowledging how historical and contemporary contexts inform both the creation and the collection of works by Black women poets, students of all backgrounds will have the opportunity to engage creatively and critically with a wide range of practices, forms, styles, and concerns—and to write toward their own future imaginings.

Distribution Area: Humanities

AS.220.614.  Readings in Fiction: Witness, Documentation and Reimagination.  3 Credits.  

In this course we will consider the role of fiction in relation to significant historical and current events. What are the distinctive goals of a novel or story about an event or action that is well-documented in nonfictional accounts? What are the responsibilities of fictional works in the absence of clear records? Do our expectations toward these genres shift as time passes? We will read work by writers including Edward P Jones, William Wells Brown, Jean Rhys, EL Doctorow, Valeria Luiselli, and VV Ganeshananthan. Students will also complete and present an independent creative project on a subject of interest.

Distribution Area: Humanities

AS.220.623.  Fiction Workshop.  3 Credits.  

Fiction graduate students in the MFA program of The Writing Seminars will meet weekly to discuss the work of their fellow graduate students. Each student can expect to share their work three times in the course of the term, and for the work of two students to be discussed every week. Students can also expect to share their response to the works under discussion on the class Canvas page in advance of each week’s meeting.

Distribution Area: Humanities

AS.220.624.  Fiction Workshop.  3 Credits.  

Discussion and critique of fiction manuscripts by students enrolled in the MFA program. Some assignments possible.

Distribution Area: Humanities

AS.220.625.  Poetry Workshop.  3 Credits.  

Discussion and critique of poetry manuscripts by students enrolled in the M.F.A. program. Some assignments possible.

Distribution Area: Humanities

AS.220.626.  Poetry Workshop.  3 Credits.  

Discussion and critique of poetry drafts by students enrolled in the MFA program. Some reading and writing assignments possible.

Distribution Area: Humanities

AS.220.646.  Readings in Pedagogy: Teaching Fiction and Poetry.  3 Credits.  

A graduate course designed to develop both close reading and genre study, and to support the teaching of Introduction to Fiction and Poetry (IFP) I and II. Readings in selected works of American, English, and European poetry and short fiction. Course required by all graduate students in fiction and poetry.

Distribution Area: Humanities

AS.220.653.  Readings in Fiction: The Writer's Bookshelf: Unsung Novels That Writers Love.  3 Credits.  

Which books do writers often foist on other writers, telling them "You have to read this"? In this course, we'll look at books that have yet to find much popular appeal, but which writers often speak about in reverential tones. Authors may include James Salter, Paula Fox, Dezso Kosztolanyi, J.L. Carr, Juan Rulfo, Tom Drury, Christina Stead, Evan S. Connell, Leonard Gardner, Joy Williams, and Penelope Fitzgerald.

Distribution Area: Humanities

AS.220.655.  Readings in Poetry: Line, Sentence, Syntax.  3 Credits.  

A study of the interplay of the line and the sentence in poetry, with an emphasis on syntax. Some prose works will also be used for context. Poets employing syntax with great verve and precision, whether they obey or disrupt the rules, will be read in order to inform students’ own stylistic choices.

Distribution Area: Humanities

AS.220.660.  Readings in Poetry: Performing Poetry.  3 Credits.  

This course will examine the ways in which the “music” of poetry—rhythm, sound, and affective connotation—may be effectively conveyed to an audience through vocal performance.

Distribution Area: Humanities

AS.220.662.  Readings in Poetry: Poetry in Translation: From the Iliad to the Present Day.  3 Credits.  

The course will begin by looking at theories of translation, and thereafter spend half of each class looking at examples of poems in translation before moving on in the second half to look at poems by members of the group - translated poems where people have been able to write them, otherwise at original pieces. I’ll be providing texts for study each week.

Distribution Area: Humanities

AS.220.664.  Readings in Fiction: Point of View: Collage, Polyphony, Shapeshifting, and Omniscience.  3 Credits.  

Some of the most interesting moments in fiction are those when characters experience the same event or situation in profoundly different ways. In this course we will look at writing that explores those moments of intersection and collision and think about how point of view can work to achieve both strong characterization and an illuminating sense of larger context. We'll consider what makes a story where the narrative lens or voice can shift feel cohesive and intentional. The reading list will include work by Colson Whitehead, Theodore Dreiser, Virginia Woolf, Gwendolyn Brooks, E.L Doctorow, Mieko Kawakami, Caitlin Horrocks, Dawnie Walton, Zadie Smith, and Rebecca Makkai.

Distribution Area: Humanities

AS.220.665.  Readings in Poetry: Personal Anthologies.  3 Credits.  

Who are the poets who made us who we are? Over years of practice, poets become increasingly aware of their special debts to predecessors whose music compels them and whose themes seem both urgent and enduring. Readings will include some of the instructor's own touchstones, including Herbert, Milton, Dickinson, Auden, Larkin, Bishop, Walcott. Students will write poems inspired by certain models, and also present orally and in a final written project a personal anthology of poets who mean the most to them.

Distribution Area: Humanities

AS.220.668.  Readings in Fiction: Narrative Strategies.  3 Credits.  

The goal of this course is to develop our skills and hone our instincts as writing “strategists,” and to recognize and consider the options available to us, particularly in the process of drafting, experimentation, and revision. We’ll examine the various elements of craft by discussing critical essays by writers such as Janet Burroway, John Barth, and Charles Baxter. To deepen our discussion, we’ll look at published fiction to see how different authors utilize, or perhaps defy, these techniques, and to understand why they make the technical choices they do, and how they serve the overall goals of the narrative.

Distribution Area: Humanities

AS.220.800.  Independent Study.  3 Credits.  

This course is a semester-long independent research course for graduate students. Students will have one-on-one assignments and check-in's with designated faculty throughout the semester.

AS.220.803.  Summer Independent Research.  9 Credits.  

Summer independent research for graduate students.

AS.220.805.  Teaching Assistant.  3 Credits.  

For Writing Seminars MFA students. This indicates they are actively participating as a TA as required by the program.

AS.220.806.  The Hopkins Review Managing Editor.  3 Credits.  

For Writing Seminars MFA students. This indicates that they are actively participating as a managing editor for The Hopkins Review.

Cross Listed Courses

Comparative Thought and Literature

AS.300.311.  Introduction to Intellectual History.  3 Credits.  

This course offers a conceptual and historical introduction to Intellectual History. What makes the “history of ideas” different from the history of other objects? What, if anything, distinguishes the history of ideas from the history of philosophy? What is it exactly that we call “ideas”? In what sense do they have a history? These are examples of the kind of questions addressed in the course.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Citizens and Society (FA4), Ethics and Foundations (FA5)

AS.300.323.  Shakespeare and Ibsen.  3 Credits.  

William Shakespeare and Henrik Ibsen are the two most frequently performed playwrights in history, and both have been credited with reinventing drama: Shakespeare for the Elizabethan stage and Ibsen for the modern. In this course we will pair together plays by each author – those that stand in an explicit relation of influence as well as those that share a significant set of concerns – in order to investigate how each takes up and transform key problems in the literary, political, and philosophical tradition for their own historical moment. Plays to be studied: by Shakespeare, A Midsummer Night’s Dream, Hamlet, Othello, King Lear, The Tempest, A Winter’s Tale; by Ibsen, St. John’s Night, Hedda Gabler, Rosmersholm, The Wild Duck, The Master Builder, When We Dead Awaken.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

AS.300.337.  The Tragic Tradition.  3 Credits.  

This course offers a broad survey of tragic drama in the Western tradition, from its origins in ancient Greece to the twentieth century. In lectures and discussion sections, we will study the specific literary features and historical contexts of a range of different works, and trace the continuities and transformations that shape them into a unified tradition. Key questions and themes throughout the semester will include what counts as tragic, the tragedy of social and political conflict, the bearing of tragedy on the meaning and value of life, the antagonistic relation between world and humans, the promises and dangers of tragedy for contemporary culture. Authors to be studied: Sophocles, Euripides, Seneca, Shakespeare, de la Barca, Racine, Goethe, Strindberg, Lorca, and Beckett.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Film and Media Studies

AS.061.147.  Visual Storytelling.  3 Credits.  

This primer to screenwriting will emphasize the power of the image to deliver character, situation, and theme, and to advance even complex plots.  Students will analyze narrative films, compose their own still and moving images with cellphone cameras, and write several short dramatic pieces to be read and workshopped by the group.  They'll learn the basics of scene design and of screenplay format. For FMS majors in the screenwriting track, this course fulfills the Media and Narrative requirement . $50 lab fee.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.148.  Storytelling for Film and Fiction.  3 Credits.  

Through the analysis of narrative films, short fiction, myths, fairy tales, and ghost stories, and through the workshopping of their own creative writing, students will explore the art and science of "a good story well told." The course will offer an introduction to dramatic and visual storytelling, and is an essential primer for upper-level screenwriting. Lab fee $50.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.205.  Introduction to Screenwriting.  3 Credits.  

In this course we will explore the principles of visual storytelling in narrative film as they apply to the design, creation, and revision of the short-form screenplay. Specifically, we will focus on learning the craft of screenwriting — strategies, processes, and philosophies that writers can develop, practice, and rely upon as they progress through a series of screenwriting exercises and write a 12-page screenplay, which will be critiqued in-class during weekly table reads and with the Instructor (one-on-one) during office hours. Select produced feature screenplays will be read and analyzed — and clips from select films viewed — to further explore what works well on the page, and how it translates to working well onscreen. (Scripts and clips often selected from American films from the '70s, '80s, and '90s.) A free 18-week trial of Final Draft software will be made available for all students who don’t wish to purchase it outright for $99.)

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.218.  Modernist Literature and Film.  3 Credits.  

This course explores the exchange of ideas and techniques between literary modernism and modernist cinema: how Virginia Woolf’s writings on the cinema connect with her use of shifting points-of-view as literary devices, how James Joyce influenced the Soviet filmmaker Sergei Eisenstein and how Eisenstein in turn influenced the American novelist John Dos Passos, how Franz Kafka's frequent trips to the movies reflect in his fiction, and how artists ventured broadly to develop experimental languages for expressing the new speeds and scales of modern life. Additional texts will be drawn from novels, essays, poems, and films from Ezra Pound, T. S. Eliot, Charlie Chaplin, Claude McKay, Zora Neale Hurston, Anita Loos, Andrei Bely, Dziga Vertov, Gertrude Stein, Louis Aragon, and René Clair. The course fulfills the writing intensive requirement and involves a series of essays on literature and cinema from a critical perspective.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.241.  Personal Stories for Page and Screen.  3 Credits.  

A workshop devoted to creating compelling short scripts and stories based on personal experience. Analysis of films, memoir, and short fiction, along with collaborative development of student work, will emphasize how unique worlds and world views can reflect a larger shared humanity. All writers welcome. Tell your story!

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.265.  Comedic Storytelling for Page and Screen.  3 Credits.  

A workshop devoted to the art and science of a funny story well told. Students will analyze comic fiction, film, and classic television, and create their own short, comic works, drawing on personal experience and real-world observation. They'll learn the basics of screenplay format and scene design, and hone close observation and critical thinking skills. This course satisfies the Film and Media Studies screenwriting requirement. 220.105 OR 225.06 recommended but not required. Both majors and non-majors welcome.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.271.  Intermediality: Between Word, Image, and Sound.  3 Credits.  

This course explores film adaptation by considering how words, images, and sounds offer different affordances and constraints for creative expression. A central goal is to conceive of adaptation outside of typical discussions of fidelity to a source work and instead consider how different artistic media open up unique opportunities for storytelling. To this end, we will draw on a number of different intermedial translations, which may include from novel to film (The Night of the Hunter, from Davis Grubb’s book to James Agee’s screenplay to Charles Laughton’s film), from short story to film (The Turin Horse), from graphic novel to film (Ghost World) or television series (HBO’s Watchmen), from personal essay to documentary film (James Baldwin’s The Devil Finds Work and I Am Not Your Negro), from poetry to film (O Brother, Where Art Thou), from play to film (A Raisin in the Sun and My Own Private Idaho), from radio drama to film (Sorry, Wrong Number), and film-to-film homage (Far From Heaven and All That Heaven Allows). We will also delve into the vagaries of film-to-book novelizations and the curious case of concurrently writing film and book, as in Stanley Kubrick and Arthur C. Clark’s collaboration on the film and novel 2001: A Space Odyssey (both adapted from a short story).

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.061.303.  Podcasting: Critical and Creative Practice.  3 Credits.  

Combining approaches to audio storytelling and multimedia production, this course offers a wide-ranging introduction to the art of podcasting. Students will learn techniques from the innovators of the golden age of radio, read culturally significant radio plays, develop tools for critically listening to and analyzing today’s podcasts, and learn how to research, write for, and produce their own podcasts. Examples will come from a broad sample of narrative, documentary, interview, and discussion-based podcasts. While no formal training in audio production is necessary to take the course, students will be expected to learn the necessary skills to create their own podcasts. In-class demonstrations of microphones, editing software, and approaches to sound design will be offered. The full suite of podcast materials—written copy, cover image, and audio file—will be posted to the JHU FMS Podcasting channel at https://jhufilmandmedia.podbean.com/. Subscribe to the feed on Apple Podcasts, Google Podcasts, Spotify, or wherever you get your podcasts. $50 lab fee.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

AS.061.312.  The Fallen World: Morally Complex Storytelling.  3 Credits.  

A workshop devoted to creating complex characters in challenging moral landscapes. Students will view and discuss a wide range of films; and creative assignments may include profiles, short fiction, monologues, and dramatic scenes for the screen. Short critical and creative written exercises, and a longer, creative final project.

Prerequisite(s): AS.061.148 OR AS.061.205 OR AS.061.315 OR AS.061.316 OR Instructor Permission

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

AS.061.313.  Personal Storytelling for the Screen.  3 Credits.  

A workshop devoted to creating compelling short scripts based on personal experience. Analysis of screened films and collaborative development of student work will emphasize how unique worlds and world views can reflect a larger shared humanity. Short critical and creative written exercises, and a longer, creative final project.

Prerequisite(s): AS.061.148 OR AS.061.205 OR AS.061.315 OR AS.061.316 or Instructor permission.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.315.  Screenwriting By Genre.  3 Credits.  

Story design for the screenplay with special attention to the genres of comedy, horror, melodrama, and adventure. Regular workshops, short written exercises, and a longer final project.

Prerequisite(s): AS.061.148 OR AS.061.205 OR AS.061.270 OR permission of the instructor.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.316.  Characters for the Screenplay.  3 Credits.  

A workshop devoted to creating complex characters for the screen. Students will examine memorable film characters from the silent era to the present, with attention to how these characters are revealed through both the drama and the mise en scene. Weekly screenings. Short critical and creative written exercises and a longer, creative final project.Recommended Course Background: AS.061.148 OR AS.061.205 OR AS.061.265

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.061.373.  Intermediate Screenwriting.  3 Credits.  

This course will explore strategy and process for developing a short screenplay from pre-existing literary or journalistic source material (short story, news/feature article, etc.). By exploring several “case studies” — feature films and the source material that inspired them — students will identify the practical strategies employed by professional screenwriters with the goal of employing such strategies with their own screenplay adaptations. Bulk of class will focus on designing, writing, and rewriting a 20-30 page screenplay, and sharing multiple drafts with the class (and with the professor one-on-one) for critique over the course of the semester. Each student should have 2-3 pieces of material under consideration for possible adaptation by the start of class. Discussions from time to time will also touch on the business of screenwriting. (Scripts and clips often selected from American films spanning the 60s through the 2000s.) Students will be required to purchase a license for Final Draft screenwriting software for $99. Students are expected to have previously completed AS.061.205 or another lower level screenwriting class.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

AS.061.404.  Advanced Screenwriting.  3 Credits.  

Intensive workshop course where students will write a first draft of a feature-length screenplay. Classes will focus on the specific challenges of the students’ works-in-progress, with an emphasis on developing a story idea that is suitable for a feature, and the craft to see it through to completion. Particular emphasis will be placed on the feature screenwriter’s central challenge: creating enough of a structure in the early writing stages to keep the screenplay on track, while remaining open to new ideas for scenes and sequences that inevitably arise as the characters, story, and themes come to life. Select produced feature screenplays will be read and analyzed — and clips from select films viewed—to explore what works well on the page, and how it translates to working well onscreen. Throughout the course, Instructor will also devote a portion of class time to discuss the business of screenwriting. Students will be required to purchase a license for Final Draft screenwriting software for $99 by Week 2 (if they have not already done so for a prior screenwriting course).

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

First Year Seminars

AS.001.113.  FYS: The Poetry of Music - Lyrics and the Art of Songwriting.  3 Credits.  

In this First-Year Seminar we will examine the poetic artistry of American song, from Tin-Pan Alley and Broadway tunes to Folk songs, Billboard’s Top 40, and Hip Hop. Our focus will be on the linguistic art of song – the meaning(s), rhythm, timbre, and pitch found in words alone. Taught in a workshop format, the course will encourage students to read lyrics as poetry and then write their own.

Distribution Area: Humanities

AS.001.213.  FYS: Explorations in Contemporary Poetry.  3 Credits.  

In this seminar we’ll explore the many ways that contemporary poets tell stories, make music, and create meaning. We’ll read a wide range of contemporary lyric poems, and every week you’ll have the opportunity to apply what you’ve learned in fun, low-pressure writing exercises. (No previous poetry-writing experience required!) Planned activities include classroom visits by contemporary poets as well as off-campus trips to poetry readings around town.

Distribution Area: Humanities

AS.001.216.  FYS: The Literature of Food.  3 Credits.  

Using literature as our primary lens, in this First-Year Seminar we will explore our complex relationships with food, considering it as both material fact and literary symbol. We will read prose and poetry by writers such as Chang Rae Lee, Kevin Young, Mary Oliver, Naomi Shihab Nye, Gary Soto, and Joy Harjo, engaging issues of food and community, food labor and production, climate change, and more. As part of our explorations, we’ll spotlight aspects of Baltimore food culture and history, and students will be asked to examine and share their own personal and cultural relationships with food. Assignments will include creative writing exercises that draw on both research and personal experience.

AS.001.227.  FYS: Writing with Pictures: an introduction to writing picture books and graphic novels.  3 Credits.  

A picture is worth 1000 words, or so goes the old saying. This hands-on writing workshop, explores the often-overlooked importance of TEXT in award-winning graphic novels and children's picture books. Over the course of the semester, we will delve into a wide range of topics, from understanding the relationship between image and text and thinking cinematically, to effective techniques for storyboarding and creating forceful dialogue. And like all good writers, we will work on developing the kind of rich characters, strong dialogue, and compelling themes that captivate readers. To enrich our writing efforts, we will embark on various outings during the semester. These will include visits to an illustrator's studio and an independent bookstore specializing in graphic novels. We will also interact with an array of professional writers and editors both in class and at extra-curricular events. The central goal of this course is to build a community through writing. No prior experience in creative writing or visual art is necessary. All that is required is enthusiasm for the topic and a willingness to share your work with others.

AS.001.234.  FYS: Bringing the Past to Life with Poetry.  3 Credits.  

Unlike Disney's talking teapots and candlesticks, ""real life"" objects can't tell their own stories. Through research and writing, however, we can ""animate"" and contextualize art and artifacts with our words, illuminating the people who made and used those objects, particularly those whose own voices have been historically marginalized. How can creative writing bring the past to life both imaginatively and responsibly? How do writers choose and use literary techniques to reckon with history? Poems we will examine and discuss include ""Ode on a Grecian Urn"" by John Keats, ""Voyage of the Sable Venus"" by Robin Coste Lewis, ""The Museum of Obsolescence"" by Tracy K. Smith, ""In the British Museum"" by Thomas Hardy, ""mulberry fields"" by Lucille Clifton, and ""How to Look at Pictures"" by Rebecca Morgan Frank. This course is an experiential collaboration between the Writing Seminars* and the Homewood Museum*, where students will explore the museum's collection and curate a public exhibition featuring their writing. *By way of introduction, The Writing Seminars is Johns Hopkins University’s creative writing department, offering both a major and a minor to undergraduate students, as well as a Master of Fine Arts graduate degree; Johns Hopkins University’s Homewood Museum is an early nineteenth-century National Historic Landmark site focusing on the enslaved families who lived and labored on the land that would later become the university’s main campus. With a focus on early American decorative arts, Homewood’s collection provides students with the opportunity to have hands-on experience with museum objects and to consider the role of museums and antiques in a new and creative light.

Interdepartmental

AS.360.133.  Freshman Seminar: Great Books at Hopkins.  3 Credits.  

Students attend lectures by an interdepartmental group of Hopkins faculty and meet for discussion in smaller seminar groups; each of these seminars is led by one of the course faculty. In lectures, panels, multimedia presentations, and curatorial sessions among the University's rare book holdings, we will explore some of the greatest works of the literary and philosophical traditions in Europe and the Americas. Close reading and intensive writing instruction are hallmarks of this course; authors for Fall 2020 include Homer, Plato, Dante, John Donne, George Herbert, Christina Rosetti, Mary Shelley, Friederick Nietzsche, Isaac Bashevis Singer, Frederick Douglass.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

Writing Intensive

Modern Languages and Literatures

AS.211.444.  The Apocalypse in Literature and Film.  3 Credits.  

“Everything which we loved is lost! We are in a desert” – this emotional assertion was the reaction to Kazimir Malevich’s 1915 painting The Black Square, as the artist himself recalled it. This sentiment of fearing, warning and even witnessing the end of the world as we know it, will stand at the center of the course. We will study the literary and cinematic representations of this apocalyptic notion and investigate its theoretical, theological, physiological and aesthetic aspects. We will seek to trace the narrative dynamics as well as literary and cinematic means of apocalyptic representations in works from various periods, languages, cultures and religions. Among the issues to be discussed: what is the apocalypse, biblical apocalypse, dystopia and nostalgia, trauma and post trauma, war and the apocalypse, the Holocaust as the end of civilization, the atomic bomb, realism and anti-realism, political changes and the apocalypse in popular culture.

Distribution Area: Humanities

AS Foundational Abilities: Citizens and Society (FA4), Ethics and Foundations (FA5)

Writing Intensive

AS.211.479.  Dante's Journey through the Afterlife.  3 Credits.  

Dante's Divine Comedy presents a complete picture of the medieval world-view in all its aspects: physical (the structure of the cosmos), historical (the major actors from Adam to Dante himself) and moral (a complete system of right and wrong). Dante shows how the Christian religion portrayed itself, other religions, the nature of God, humans, angels and devils, and human society. We will explore these topics both from the viewpoint of Dante's own time, and in terms of its relevance to our own societal and cultural concerns.

Prerequisite(s): AS.214.479

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3)

Writing Intensive

AS.214.479.  Dante Visits the Afterlife.  3 Credits.  

One of the greatest works of literature of all times, the Divine Comedy leads us down into the torture-pits of Hell, up the steep mountain terrain of Purgatory, through the “virtual” space of Paradise, and then back to where we began: our own earthly lives. We accompany Dante on his journey, building along the way knowledge of medieval Italian history, literature, philosophy, politics, and religion. The course also focuses on the arts of reading deeply, asking questions of a text, and interpreting literary and scholarly works through discussion and critical writing. Conducted in English.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3)

Writing Intensive

AS.216.342.  The Holocaust in Israeli Society and Culture.  3 Credits.  

This course examines the role of the Holocaust in Israeli society and culture. We will study the emergence of the discourse on the Holocaust in Israel and its development throughout the years. Through focusing on scholarly, literary, artistic, and cinematic responses to the Holocaust, we will analyze the impact of its memory on the nation, its society, politics, and collective self. The course is divided to three general categories: Historical and Sociological Perspective, Literary Perspective, and Cinematic Perspective. However, we will study the crossroad between these three categories, and will explore them in relation to one another.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Citizens and Society (FA4)

Theatre Arts & Studies

AS.225.318.  21st Century Female Playwrights.  3 Credits.  

This is a writing intensive class exploring the current wealth of women playwrights, including Pulitzer Prize winners: Wendy Wasserstein, Paula Vogel, Lynn Nottage, and Jackie Sibblies Drury (2019 Prize for FAIRVIEW). We will discuss Script Analysis and read (and see) plays by numerous writers including Claire Barron, Kia Corthron, Theresa Rebeck, Sarah Ruhl, Danai Gurira, Caleen Sinnette Jennings, and Hansol Jung. This class will include a mid-term and a Final Paper.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.225.324.  Adaptation for the Stage.  3 Credits.  

For aspiring playwrights, dramaturgs, and literary translators, this course is a workshop opportunity in learning to adapt both dramatic and non-dramatic works into fresh versions for the stage. Students with ability in foreign languages and literatures are encouraged to explore translation of drama as well as adaptation of foreign language fiction in English. Fiction, classical dramas, folk and fairy tales, independent interviews, or versions of plays from foreign languages are covered.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

AS.225.330.  Playwriting Strategies.  3 Credits.  

A seminar and workshop in playwriting with Dr. Joe Martin, playwright and dramaturge. Student writers, developing their plays, will learn how to open up to the creative process, “brainstorm,” refine their work, and shape it toward an act of artistic communication. Writer’s techniques, such as attending to plot or “story,” delineation of character, creating effective “dialog,” even overcoming “writer’s block,” will be addressed. This course is designed to be complementary to – not a replacement for – playwriting classes in the Writing Seminars.

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3)

Writing Intensive

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