|
16477 |
WRIT 121 First Fiction Workshop |
Porochista Khakpour |
T Th 11:50 am-1:10 pm |
OLIN 303 |
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 but who
have not yet had a fiction workshop at Bard. In spring term this course is not
restricted only to first-year students. Prospective
registrants must submit a writing portfolio c. 10 days before registration.
Deadline and guidelines will be announced via email and at writtenarts.bard.edu.
Class
size: 14
|
16479 |
WRIT 224 Literary JOURNALISM |
Ian
Buruma |
M W 10:10 am-11:30 am |
OLIN 308 |
ELIT |
Cross-listed: Human Rights
This course will consider what constitutes
literary journalism, as opposed to other forms of comment or reporting. It will
include famous polemics, such as Zola's J'Accuse, literary and arts criticism, and political
reportage. Great critics, ranging from Cyril Connolly on literature to Lester
Bangs on rock music, will be read. We will look at famous reportage, such as
Mary McCarthy's pieces on
|
16478 |
WRIT 238 THE SONG OF A
PAGE: Short Prose
Forms for Poets |
Michael Ives |
T Th 3:10 pm-4:30 pm |
HEG 201 |
PART |
Nietzsche, perhaps
anticipating Twitter or SnapChat, thought it possible
to say in ten sentences what many say in a whole book. A master of the
aphorism, he believed condensation could penetrate rather than just abbreviate.
In this course we will take up the challenge, and practice compression by
writing prose that begins and ends on a single page. As poets have always
known, brevity is a catalyst to invention. We will focus on the sentence,
rather than the line, to investigate exactly how the syntax of narrative and
description conveys the movement of thought. Among the short forms we will
examine are early and post- modern prose sequences, micro-fictions, guide book
entries, capsule reviews, the précis, the Haibun, the
parable, and notebook and journal entries. Among the writers included will be:
John Ashbery, Samuel Becket, Thomas Bernhard, Lydia
Davis, Russell Edson, Max Jacob, Franz Kafka, Daniil Kharms,
Tan Lin, Harry Mathews, Harriett Mullen, Leslie Scalapino, the sinologist Edward Schafer, scent expert Luca
Turin, Paul Valery, and Joe Wenderoth. Admission by portfolio only. Though priority will be given
to students intending eventually to write a senior project in poetry, all are
welcome to submit for admission. Class size: 12
|
16480 |
WRIT 324 Fiction Workshop III |
Porochista Khakpour |
T 1:30 pm-3:50 pm |
HEG 200 |
PART |
This is a workshop
in prose fiction for advanced students. Students are expected to submit at
least two works of fiction to the workshop and critique their peers' writings. Prospective registrants must submit a
writing portfolio c. 10 days before registration. Deadline and guidelines will
be announced via email and at writtenarts.bard.edu. Class
size: 14
|
16487 |
WRIT 333 HUNTING HUMAN BEINGS: AN EXPLORATION OF
"THE PROFILE" AS A JOURNALISTIC FORM |
Wyatt
Mason |
W 1:30 pm-3:50 pm |
HEG 200 |
PART |
The mainstream
magazine or newspaper profile has a long history in English, one that dates
back to Daniel Defoe’s pioneering efforts, efforts that--significantly--ran in parallel
to the emergence of the English novel. In this course, we will hopscotch
through the history of the profile in English as we attempt to come to an
understanding of how a written portrait of a real-live person--Defoe’s profile
of the criminal Jack Sheppard, for example--differs in nature and form from a
written portrait of an invented person--such as Robinson Crusoe in Defoe’s
novel by that name. A writing workshop, this course will be focused,
nonetheless, on reading. We will analyze how writers through time who have
worked on deadline have managed the formally repetitive task of seizing facts
about a person and forging them into a written portrait that offers a distant
reader a fair--though sometimes unfair--picture of an individual human being.
|
16481 |
WRIT 335 Poetry Practicum: HOW FORMS
BECOME CONTENTS |
Ann
Lauterbach |
Th 1:30 pm-3:50 pm |
OLIN 301 |
PART |
"Practicum"
is a Latin word meaning the practice of something as one moves
from learning about it to doing it. This course will have the spirit of experiment,
in the sense of testing and revising, and a sense of inquiry, in the sense of
looking closely at how specific choices—word, punctuation, syntax, line break,
stanza—inform how meanings are made. We’ll read a range of examples, as well as
some critical writing, to help you align your intentions to your writing
practice. Prospective registrants must
submit a writing portfolio c. 10 days before registration. Deadline and
guidelines will be announced via email and at writtenarts.bard.edu.
Class size: 13
|
16483 |
WRIT 336 Prose Studio |
Luc Sante |
Th 1:30 pm-3:50 pm |
HEG 300 |
PART |
Just as the visual arts
employ studios to stretch muscles, refine technique, and launch ideas, so this class
will function for writers of fiction and nonfiction. Every week there will be
paired reading and writing exercises concerning, e.g., voice, stance, texture,
rhythm, recall, palette, focus, compression, word choice, rhetoric, and timing.
For serious writers only.Prospective registrants must submit a writing
portfolio c. 10 days before registration. Deadline and guidelines will be
announced via email and at writtenarts.bard.edu. Class
size: 15
|
16484 |
WRIT 340 B Affinities &
Discoveries |
Mona
Simpson |
TBA - |
|
PART |
This is a year-long
course, students who registered in the fall 2015 semester will continue in
spring 2016. No new registrations will
be accepted.
|
16485 |
WRIT 405 Senior Colloquium:Written
Arts |
Mary Caponegro |
M 4:45 pm-6:00 pm |
ASP 302 |
|
1 credit Senior Colloquium is required for all
Written Arts majors enrolled in 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. Class
size: 20
|
16486 |
WRIT 422 Writing Workshop for
Non-Majors |
Robert
Kelly |
F 3:00 pm-5:20 pm |
SHAFER HOUSE |
PART |
A course designed for juniors and seniors, who are not writing majors, but
who might wish to see what they can learn about the world through the act of
writing. Every craft, science, skill, discipline can be articulated, and
anybody who can do real work in science or scholarship or art can learn to
write, as they say, “creatively.” This course will give not more than a dozen
students the chance to experiment with all kinds of writing. Prospective
registrants must email the instructor with a brief letter of inquiry detailing
their current writing activities (e.g., senior project) and their writing
interests, or must set up a meeting with the instructor in advance of
registration. This course will be held in the Shafer House
Common Room. Class size: 12
Cross-listed
course
|
16500 |
THTR 248
WRITING PLAYS WHILE TIME-TRAVELING AROUND THE WORLD |
Chiori Miyagawa |
W 1:30 pm-4:30 pm |
FISHER STUDIO
NO. |
PART |
Cross-listed:
Victorian
Studies; Written Arts This is a playwriting workshop
in which the students will write time-traveling plays. They will explore the
journeys of two 19th century journalists who raced around the world at the same
time in opposite directions competing to finish first, and by this act, changed
the face of journalism in the U.S. Students will write several short plays
following either Nellie Bly’s route (eastward starting by steamboat) or
Elizabeth Bishland’s route (westward starting by
railway), and may set each scene in any time period between 1889 and the
present. Through this project, students will encounter how world cultures were
presented in the
Prerequisite: One creative writing class in any genre. Priorities will be given
to those who have taken a playwriting class. Class size: 10