EDUC 998 (1SY) - Special Topics
Spc Top/TIPPs II seminar
Term: Spring 2022 - Full Term (01/25/2022 - 05/09/2022)
Grade Mode: Letter Grading
CRN: 55162
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | T | 4:40pm - 7:00pm | ONLINE |
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | T | 4:40pm - 7:00pm | ONLINE |
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | Hours Arranged | MORR B02 |
Please email: Education.Department@unh.edu, for course permission
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | M | 6:01pm - 9:00pm | PANDRA P345 |
This class acknowledges the critical importance of Shakespeare's works as cultural documents. By examining a selection of his dramatic works in the context of literary, cinematic, and graphic novel adaptations, we'll see that these plays have had a profound influence on other writers and artists over the centuries.
Comics, films, and literature have all been inspired by Shakespeare's dramatic works. In this class we will explore these inspirations, as well as the originals from which they are created. We'll analyze four Shakespeare plays--The Taming of the Shrew; Othello; Macbeth; and The Tempest--as a work in and of itself, looking at the ways in which Shakespeare has handled characterization, dramatic plotting, language, and a series of other literary techniques. We'll then move on to an analysis of films, comic books, and literary adaptations of these Shakespearean dramas. They'll be either clear "rewritings" of the plays, showing strong adherence to the original, or they'll be quite free versions of the plays, showing some echoes or inspirations from Shakespeare, but demonstrating their authors' own visions of characterization, plot, and theme. By the end of the semester, we should have a heightened appreciation not only for the original Shakespeare plays, but also for the ways in which filmmakers, comic book artists and other playwrights have harnessed Shakespeare's vision and made it their own.
Course fulfills pre-1800 requirement for English, English Teaching, and LS majors. It is Writing Intensive.
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | W | 1:10pm - 4:00pm | HS 250C |
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | R | 2:10pm - 5:00pm | HS 250C |
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | T | 9:40am - 12:30pm | HS 250C |
Literary Genrelessness: Writers dealing with the absurd, unexplainable, existential, and the unknown. Inspired by Giovanni Boccaccio’s plague stories gathered in “The Decameron,” the New York Times asked twenty-nine fiction writers to write about pandemic life for their Decameron Project. When reality is surreal, they surmised, only fiction can make sense of it. Making sense of reality is what storytellers have been doing since long before the written word, and in this class, we’ll read and discuss a wide variety of contemporary writers who do just that: N.K. Jemisin, Mohsin Hamid, Carmen Maria Machado, Shruti Swamy, Jennifer Egan, John Edgar Wideman, Clarice Lispector, Italo Calvino, Lydia Davis, and more. As writers, we’ll discuss issues of craft, intention, ambition, and perhaps most importantly, practical application of the skills gleaned from careful reading of authors who ignore genre in their quest to wrest sense from the senseless. We’ll leave no stone unturned as we ask not what it all means, but how it all works. How do these writers visualize, create, populate, and realize their stories? How do their choices both utilize and surmount realism? How do they access what John Gardner called the “vivid and continuous dream” of fiction? Since this class is about writers and for writers, we’ll read like writers, devotees to the lucid application of language in service of good art. We’ll also join these writers on the page, writing and presenting work that follows Jill Alexander Essbaum’s adage: “Obey no rule that impedes good art.”
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | M | 9:10am - 12:00pm | HS 250C |
English 808/Form & Technique of Nonfiction: On Structure.
As master nonfiction writer John McPhee says, “A piece of writing has to start somewhere, go somewhere, and sit down when it gets there.” What McPhee knows and we will explore is the myriad of structures that move true stories from beginning to end. In this seminar, we will focus on narrative architecture and how to determine the arrangement that best suits the nonfiction tale, from straight chronology to reverse chronology to braided to lyric to circular to collage and beyond. We will read a range of long form and short form works by authors including McPhee, Maggie Nelson, Jerald Walker, Jaquira Diaz, Leslie Jamison, and Ander Monson, paying close attention to how they build tension and add layers. We will also play with structure in our own writing each week, culminating in a portfolio comprising a variety of narrative construction. Too often, we approach story assembly the same way. This course will shove us out of our comfort zone.
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | T | 2:10pm - 5:00pm | HS 250C |
English 809--Translated Worlds
Although this version of the Poetry Form & Technique class will survey translations from the planet’s many poetic traditions, we will do so with an eye toward what makes for a good poem in English. The translator’s task, wrote Walter Benjamin, should be with “that element in a translation which goes beyond transmittal of subject matter . . . the element that does not lend itself to translation.” In that spirit, I’m most interested in “versions” such as Christopher Logue’s Homer in War Music or Stephen Berg’s Rimbaud in Still Unilluminated I, as well as in how certain poets like Catullus, Sappho, Tu Fu, and Apollinaire continue to be updated by successive generations. We’ll also examine the enduring influence of translated works on American poetry in the last 100+ years. Besides the poets mentioned above, we will look at work by Wyslawa Szymborska, Tomas Transtromer, Patrizia Cavalli, Adelia Prado, Anna Ahkmatova, Rilke, Basho, Issa, Buson, Ikkyu, Miyazawa Kenji, Yannis Ritsos, and Cesar Vallejo, among others. Student responsibilities will include a class presentation and directed discussion of one of our prime translation targets. We’ll do weekly imitations of the poets we discuss. (Students also have the option of doing an actual translation from the original, rather than an imitation.) N.B. This is a class that requires a great deal of weekly reading, both poetry and essays, in addition to the writing we’ll do. Over a dozen books are on the required reading list.
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | TR | 5:10pm - 6:30pm | HS 201 |
Start Date | End Date | Days | Time | Location |
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1/25/2022 | 5/9/2022 | T | 4:01pm - 6:30pm | PANDRA P341 |