Note that students are
permitted to apply simultaneously for multiple workshops of any level and/or
genre within a given semester. However, if a student places into more than one
workshop, they or the instructor must choose among them.
The Program does not allow students to take two or more workshops concurrently.
If a student is applying to more than one workshop within a given semester,
those workshops should be listed on the cover page of each portfolio submission
along with first choice.
|
91732 |
WRIT 121 A First Fiction Workshop |
Benjamin Hale |
M . W . . |
11:50 am -1:10 pm |
OLINLC 118 |
PART |
This course involves both intensive reading and writing of
the short story and is intended for students who have made prior forays into
the writing of narrative. Class
size: 12
|
91733 |
WRIT 121 B First Fiction Workshop |
Benjamin Hale |
M . W . . |
3:10 pm -4:30 pm |
OLIN 303 |
PART |
See above.
Class size: 12
|
91735 |
WRIT 122 Introduction to Nonfiction |
Wyatt Mason |
M . W . . |
1:30 pm -2:50 pm |
OLIN 305 |
PART |
This
course presents the breadth of formal possibilities available to writers of
short nonfiction. Students workshop—i.e., read and comment on critically and
insightfully—published pieces by Montaigne, De Quincey, Hazlitt,
Baudelaire, Poe, Dreiser, Twain, Virginia Woolf, D. H. Lawrence, Edmund Wilson,
George Orwell, Joan Didion, John McPhee, Guy
Davenport, Leonard Michaels, John Updike, Ben Metcalf, David Foster Wallace, Marilynne Robinson, Cynthia Ozick,
Jeanette Winterson, James Wood, and John Jeremiah Sullivan. Workshopping these
established writers enables students to learn both what a piece of nonfiction
writing is as well as to learn how to workshop something: It
isn’t a given! In addition to short writing exercises throughout the term, the
course will build to a final assignment that will see students attempt
substantive pieces of nonfiction writing of their own, guided by formal lessons
learned through reading the best in the form. Class size: 14
|
91507 |
WRIT 123 A First Poetry Workshop |
Robert Kelly |
. . W . F |
1:30 pm -2:50 pm |
OLIN 307 |
PART |
This
course is open to students who have never had a workshop in poetry and who
desire to experiment with making their own writing a means of learning both
about literature and poetry and about the discipline of making works of art.
Attention is mainly on the student’s own production, the individual’s awareness
of what sorts of activities, rhythms, and tellings
are possible in poetry, and how poets go about learning from their own work.
The central work of the course is the student’s own writing, along with the
articulation, private and shared, of response to it.
|
91736 |
WRIT 123 B First Poetry Workshop |
Michael Ives |
. T . Th . |
11:50 am -1:10 pm |
OLIN 101 |
PART |
See above.
Class size: 12
|
91737 |
WRIT 221 Fiction Workshop II |
Porochista Khakpour |
. . W . F |
11:50 am -1:10 pm |
OLINLC 208 |
PART |
This workshop is open to any thoughtful mode of making
fiction, whether traditional or experimental or in between. Students will be
expected to produce and revise three or four carefully developed stories and to
provide written critiques of their peers’ work, as well as to read and respond
to published fiction.
Class
size: 14
|
91738 |
WRIT 230 Materials and Techniques of
Poetry |
Michael Ives |
. T . Th . |
3:10 pm -4:30 pm |
OLIN 101 |
PART |
It
is the unique capacity of poetry to capture the movement of mind and body in a
resonant verbal architecture. In this course, students examine, from the ground
up, the elements of that architecture by asking what, in the most concrete
terms, makes a poem a dynamic, saturated language event. Rather than thinking
of structure as an imposition, this workshop considers it an aid to the freeing
of the imagination. Along the way, students encounter such aspects of poetic
form as patterns of repetition; the infinite varieties of syntax, punctuation,
meter, and typography; the “color” of vowels; and the rhythmic implications of
word choice and sentence structure. Participants explore a range of techniques
and materials from around the world and from the beginning of recorded history
right up to the present moment. Writing for the course takes the form of
creative responses to a wide variety of reading and weekly “experiments.”
Class
size: 13
|
91716 |
FILM 256 Writing the Film |
So Kim |
M . . . . |
1:30 pm -4:30 pm |
AVERY 117 |
PART |
See Film section for description.
|
91741 |
WRIT 318 The Personal Essay |
Susan Rogers |
. . W . . |
1:30 pm -3:50 pm |
OLIN 304 |
PART |
This
course involves equal parts reading and writing and is for students who want to
develop their creative writing and analytic thinking.
|
91739 |
WRIT 324 Fiction Workshop III |
Joseph O'Neill |
M . . . . |
11:50 am -2:10 pm |
HEG 300 |
PART |
This is a workshop in prose fiction for advanced students.
Students will be expected to submit at least two works of fiction to the
workshop and critique their peers’ writings. Class size: 12
|
91740 |
WRIT 340 Affinities &
Discoveries: HOW TO SUSTAIN A LITERARY LIFE DURING AND AFTER BARD |
Mona Simpson |
TBA |
TBA |
|
PART |
In
this course, we will engage with a broad range of literary magazines, in print
and online, from samizdat
to Condé Nast.
Students will be guided to recognize and identify literary sensibilities,
developing their own affinities and eventually engaging in a more concrete way
with the particular periodicals they most admire (in various forms potentially
including submission of their own work). In this manner an ongoing conversation
begins to take place: one that can extend well beyond Bard. Throughout the
semester, we will discuss the mechanics of literary community building, from
submitting, interning, blogging, tweeting (one recent editor of The Paris Review Daily
maintains a Twitter feed about all things Pym), forming literary chat rooms and
real-life book clubs. We will consider strategies for sustainable engagement
with the reading and writing students have cherished at Bard, extending into
their twenties and far beyond. The professor will come for intense sessions
(two days in a row) three times during the semester. The weeks in between, the
class will meet and Skype with the professor. The professor will also require
written responses to the reading biweekly. This is a yearlong course; those who
register for Fall 2015 must commit to continue for
Spring 2016. Class size: 14
|
91742 |
WRIT 345 Imagining Nonhuman
ConsciousnESs |
Benjamin Hale |
. T . . . |
1:30 pm -3:50 pm |
OLIN 304 |
PART |
Cross-listed: Environmental & Urban Studies, Experimental
Humanities, Human Rights Philosopher
Thomas Nagel asked, “What is it like to be a bat?” Ultimately, he determined
the question unanswerable: A bat’s experience of the world is so alien to our
own that it remains inaccessible to human cognitive empathy. That’s arguable.
But it is true at least that a bat’s experience—or that of any other nonhuman
consciousness—is not inaccessible to human imagination. In this
course we will read and discuss a wide variety of texts, approaching the
subject of nonhuman consciousness through literature, philosophy, and science.
We will read works that attempt to understand the experiences of apes,
elephants, parrots, lobsters, cows, ants, monsters, puppets, computers, and
eventually, zombies. Course reading may include Descartes, Kafka, Rilke, Thomas
von Uexküll, Patricia Highsmith, John Gardner’s Grendel,
Carlo Collodi’s Pinocchio, David Foster
Wallace, Irene Pepperberg,
|
91791 |
THTR 347 Adapting Shakespeare |
Neil Gaiman |
TBA |
TBA |
|
PART |
See Theater section for description.
|
91743 |
WRIT 405 Senior Colloquium: Written
Arts |
Mary Caponegro |
M . . . . |
4:40 pm -6:00 pm |
OLINLC 115 |
|
0
CREDITS Senior Colloquium in
the Written Arts is an integral part of the eight credits of the Senior
Project. It has several objectives, intellectual/artistic, social, and
vocational. The primary purpose is to guide seniors, both practically and
philosophically, in the daunting task of creating a coherent and inspired creative
work of high quality within a single academic year. Emphasis will be on
demystifying the project process, including its bureaucratic hurdles, as well
as exploring the role of research in the creative realm, and helping students
use each other as a critical and inspirational resource during this protracted
solitary endeavor, sharing works in progress when appropriate. This will
supplement but never supplant the primary and sacrosanct role of the project
adviser. Program faculty and alumni, career development and other staff, and
outside speakers (such as editors, translators, MFA graduates and directors,
publishing personnel, etc.) will all contribute their collective wisdom and
experience, sharing the myriad ways in which writers move an idea toward full creative
realization and giving a glimpse of the kinds of internships and careers
available to the writer. Required for all
Written Arts majors enrolled in the Senior Project. Class size: 20