Winter 14 English Courses

English Course Descriptions-Winter 2014
Please check online for most up to date course oferings

http://www.sa.pdx.edu/soc/
English Literature and Writing students who miss the frst class
meeting or fail to notify the instructor may e dropped from the
course!
Course schedules are subject to change in the frst week of the term.
ENG/WR opics courses ma! ha"e generic titles in the schedule. #or course
detail and speci$cs% please see the course descriptions listed &! term at
www.english.pdx.edu/'ourses.php
(epartment )fice is located in Neu&erger *all Room +,-.
Phone .: -,/012-0/-23. Email: eng4pdx.edu.
5ome graduate courses are restricted to students accepted into a speci$c
program% others ma! ha"e priorit! registration for students in their program
&ut allow others to enroll with instructor permission.
5ome upper di"ision writing courses ma! re6uire su&mission of a writing
sample and/or instructor appro"al. Please see online course footnotes for
details.
ENG /,, is a re6uired pre0re6uisite to register for +,, le"el ENG courses.
5tudents are ad"ised to take ENG /,, &! or during their 7unior !ear.
"nformation regarding English ma#or re$uirements is in parenthesis!
%ome courses will meet di&erent re$uirements please see your ad'iser if
you ha'e any $uestions!
E() 104 "(*+,D-C*",( *, ."C*",(
5m!th% 8ohn
sm!th74pdx.edu
Reading% anal!sis% and appreciation of signi$cant works of $ction.
his course does not count toward the English 9a7or &ut it does count as
toward the :rts and ;etters re6uirement for the <: =32 credits re6uired in
this area total> + must &e in #ine and Performing :rts?
@t% of course% counts toward the 3A, credits re6uired &! the Bni"ersit! for
graduation.
E() 10/ "(*+,D-C*",( *, D+010 2WE34
9urph!% Rand!
murph!r4pdx.edu
Reading% anal!sis% and appreciation of signi$cant works of drama% from
classical times to present.
3/2/2,3+0Winter 2,3+0plesse see the online class schedule for the most up to date course oferings.
hank !ou.
E() 105 "(*+,D-C*",( *, 6,E*+7 28yrid4
;a!son% *ana
hla!son4pdx.edu
Reading% anal!sis% and appreciation of signi$cant poems.
E() 204 %-+9E7 ,. E()L"%8 L"*E+0*-+E " =;ower (i"ision
'ourse for 9a7or?
:rante% 8ac6ueline
arante74pdx.edu
#rom <eowulf to 3C,,
E() 20/ %-+9E7 ,. E()L"%8 L"*E+0*-+E "" =;ower (i"ision
'ourse for 9a7or?
Reese% 5usan
sgreese4pdx.edu
)ur text for the course will &e The Norton Anthology of English Literature,
olume !!, "omantic #eriod$ %&
th
Century and After, 2,32% and we will tra"el
through its pages sharing the wonders of the 3C
th
and 2,
th
centuries as well
as works from this newer centur!% the 23
st
. @ adore e"er! single work we
will plunge into and canDt wait to redisco"er them with !ou as we follow the
impact these li"ing words ha"e upon us right here% right now. )ne of the
greatest thrills of the stud! of literature comes from intertextualit!% that
magic as one work stands on the shoulders of others% o"er and o"er again%
&irthing re"olutions in thought that echo long after the! are inspired. Eou
will come to recogniFe those "oices and how the! are interrelated. his is
going to &e fun.
his course counts as a ;ower (i"ision re6uirement for the English 9a7or =A
credits are re6uired in this area and this course pro"ides +?> it also counts
toward the :rts and ;etters re6uirement for the <:.
E() 2/: %-+9E7 ,. 01E+"C0( L"*E+0*-+E " =;ower (i"ision
'ourse for 9a7or?
'eppi% Elisa&eth
eceppi4pdx.edu
his course will sur"e! works of literature written in English from colonial
settlement in the :mericas through the 'i"il War. We will focus on
6uestions of genre and authorship and their relationships to the social%
political% and intellectual histories of the geographic terrain that has
hank !ou.
&ecome the Bnited 5tates. We will ask what% if an!thing% is distincti"e a&out
G:mericanH "ersions of the themes and aesthetics associated with
Protestantism% the Enlightenment% and Romanticism. We will also work to
de"elop ha&its and skills of reading and writing necessar! for critical
anal!sis of literature.
+e$uired *e;t<
Norton Anthology of American Literature% Ath Edition =Package 3: Iols. :
and <?
@5<N ,/C/C3/,C,
E() 2/4< %-+9E7 ,. 01E+"C0( L"*E+0*-+E "" =;ower (i"ision
'ourse for 9a7or?
Ensor% 5arah
sensor4pdx.edu
@n this course% we will read :merican ;iterature from the 'i"il War to the
present with an emphasis on 6uestions of temporalit!. :s we stud! a !oung
nation tr!ing to make sense of what it means to ha"e a ="iolent% fraught% and
complex? histor!% we will confront the complicated dialectic &etween
tradition and custom% on the one hand% and ferment and inno"ation% on the
other. he texts we read will engage these dialectics J and their related
6uestions of race% gender% class% and nationalism J &oth thematicall! and
formall!> one of our main concerns will in"ol"e how these works pla!
structurall! with time in the wa! the! unfold. 5ome of the 6uestions that
will concern us along the wa! include: *ow do forms of collecti"e memor!
=and collecti"e amnesia? help to constitute :merica J and :mericanness J in
these !earsK *ow do technological de"elopments% the rise of
industrialiFation% and shifting patterns of population afect how :mericans
experience and understand the passage of timeK What does it mean when
:merican writers look &ackwardK :nd what emotions do the! =and we? feel
when J at "arious moments% from "arious 7unctures% and in "arious "oices J
the! look aheadK *ow is communit! de$ned J and performed J &! writers of
this periodK Relatedl!% how are 6uestions of national and literar! tradition
em&roiled in 6uestions of identit!% =in?e6ualit!% and powerK Who determines%
in other words% which stories matter% and which stories are toldK :s we
discuss such 6uestions% we will also de"elop and practice the skills
necessar! for efecti"e literar! anal!sis.
+e$uired *e;ts<
Norton Anthology of American Literature =Eighth Edition?: Package wo%
Iolumes '% (% and E
@5<N03/: C1A0,/C/C3/3,3
on! Lushner% Angels in America$ A 'ay (antasia on National Themes
@5<N03/: C1A03--C/M2/3/
hank !ou.
E() :00< W"C< "(*+, *, *8E E()L"%8 10=,+ =Re6uired Group :?
8ines> 1aude
mhines4pdx.edu
What is literatureK *ow ha"e we determined what is NgreatN literatureK (o
we need to know Nwhat the author intendedNK @s there more than one wa! to
$nd NmeaningN in a stor!K N:renOt we reading too much into itKN Puestions
like these will guide us throughout this course% which is designed as an
introduction to literar! theor!. Rather than sur"e!ing particular schools or
mo"ements% we will focus on central 6uestions and pro&lems. )ur primar!
texts will &e ghost stories% a genre that foregrounds interpreti"e acts and
mo"es toward re"elation of things Ghidden.H
his class is a Writing0@ntensi"e 'ourse =W@'?. #or more information on W@'
courses at P5B% go to http://www.writingprogram.pdx.edu/wic/wicQfa6s.html
+e$uired *e;ts<
8ames% The Turn of the )crew =Norton 'ritical Edition?
'uller% Literary Theory$ A ery )hort !ntroduction
9orrison% *elo+ed
9iscellaneous readings
'eppi% Elisa&eth
eceppi4pdx.edu
his course will introduce !ou to the &asic skills of literar! criticismR
critical reading and persuasi"e interpretation and argumentationRand to
some of the ma7or modern theoretical approaches to the anal!sis of literar!
works. We will &e guided &! 6uestions of meaning: what is it% how is it
produced% and &! whomK o consider these 6uestions% we will focus on
close reading as the &asis of textual interpretation. We will also engage
theoretical and practical 6uestions a&out what de$nes literature> the
relationships &etween text% author% and reader> and the status of literature
as e"idence of histor! and culture.
he goals for the course are: 3? to introduce !ou to the English ma7or and
the $eld of English as a discipline> 2? to examine the literar! and rhetorical
dimensions of texts &! de"eloping close reading skills% including the a&ilit!
to anal!Fe relationships &etween form and meaning% identif! interpreti"e
6uestions% look for wa!s that texts seem to in"ite or preclude certain
readings% and explain multiple le"els of meaning> /? to introduce !ou to
research methods in the $eld% including how to locate% interpret% and cite
critical sources> +? to familiariFe !ou with some ma7or critical approaches to
textual stud!> -? to help !ou write efecti"e and elegant interpretations of
texts and learn techni6ues of argumentation speci$c to the discipline> M? to
prepare !ou for +,,0le"el English courses.
hank !ou.
+e$uired *e;ts<
8onathan 'uller% Literary Theory$ A ery )hort !ntroduction =)xford?
*enr! 8ames% The Turn of the )crew =<edford/5t.9artinOs 'ritical Edition is
mandator!?
*erman 9el"ille% *enito Cereno =(o"er?
2WE34
;o% 9arie
mmlo4pdx.edu
ENG /,, focuses on methods of textual interpretation. his course pro"ides
students with anal!tical and critical tools necessar! for the successful stud!
of English at the upper le"el. Re6uired for% and% &ut not restricted to%
English 9a7ors. : prere6uisite for +,,0le"el English courses% English /,, is
also strongl! recommended as preparation for all upper0di"ision English
classes.
Expected preparation: A lower0di"ision credits in literature.
E() :01-< *,6"C%< %80?E%6E0+E0( *+0)ED7 2Group ' pre0
3A,,?
Walker% 8onathan
7awalker4pdx.edu
@n this course we will read and discuss four 5hakespearean tragedies: The
,ost Lamentable Tragedy of Titus Andronicus> The Tragedy of -thello, The
,oor of enice> Coriolanus> and The .istory of /ing Lear. Titus Andronicus
is perhaps 5hakespeareDs earliest traged!% which was $rst printed in 3-C+
with no authorial attri&ution on its title page. -thello appeared around the
middle of 5hakespeareDs career% and it o"erturns a num&er of racial and
generic expectations with its action. Coriolanus is a late pla!Rpossi&l! his
last traged!Rwhich centers on the pro&lems of a con6uering% plain0
speaking warrior tr!ing to $t into social and political spheres that are
plagued &! the tedium of peace. /ing Lear% $nall!% has often &een hailed as
5hakespeareDs greatest traged!% though the English poet and essa!ist
'harles ;am& has called it Gpainful and disgustingH as well as Gessentiall!
impossi&le to &e represented on stage.H
)ur guiding 6uestions in this class will center on the generic or formal
identit! of these pla!s% that is% their tragic 6ualities. What did earl! modern
audiences expect to see when the! attended a traged! in the theaterK Wh!
did their sensational 6ualitiesR&lood% death% social chaosRdraw people out
to watch traged!K :nd what sort of formal characteristicsRthe fall of a
tragic hero% a fatal miscalculation% a particular plot structureRdid
audiences look for in tragic storiesK We will examine how the literar! form
of traged! predisposes us as readers and pla!goers to interpret dramatic
hank !ou.
action in certain wa!s% and% in turn% how the pla!sD disruption or frustration
of our formal expectations transforms the possi&ilities of interpretation. We
will likewise gi"e attention to 6uestions of social class% language% race% and
gender =among others? as the! are posed &! these $"e pla!s and &! the
earl! modern English culture from which the! come.
9ost of our in0class time will in"ol"e discussing such 6uestions in these four
texts% along with other short readings. here will &e "er! few lectures. he
course will therefore re6uire !ou to ha"e read the pla!s carefull! and to &e
prepared to discuss and ask 6uestions a&out them during class meetings.
<ecause of the courseDs discussion0&ased format% its success will depend
upon e"er!oneDs acti"e participation as we seek to answer these "arious
6uestions together.
E() :0/-< *,6 "( ."L1< *8E D0E1,("C "( ."L1 =Group <?
<ohnaker% William
&hw&4pdx.edu
<! reputation e"il lies on the opposite shore from good. Eet% life itself is a
mad mixture of &oth e"il and good. he &irth in spring and the death in
winter $nd a multitude of a"atars in mortal existence. he human soul itself
is a rag&ag of the &est and the worst% trundled along within the same &od!.
<ut what is the nature of their coha&itationK 5hakespeare said there is
some soul of goodness in things e+il, would men o&ser"ingl! distill it out.
he toad. he wrote% wears a precious 7ewel in its head. <ut it is still an ugl!
and "enemous toad.
his course is an exploration of these inSections of the GdaemonicH in $lm
and of some of the discourses that presume to anal!Fe them. <ring !our
shadow.
E() :0/-< *,6 "( ."L1< W0+ C-L*-+E "( ."L1 =Group <?
<ohnaker% William
&hw&4pdx.edu
5upposedl!% e"er!one hates war% !et it remains% perpetuall!% one of the few
constants in human &eha"ior. War% despite our fer"ent hopes and eforts% is
6uintessentiall! human. @n this course we will examine cinematic and other
representations of war% not as &attle% &ut as culture% seeking to understand
the causes and conse6uences of this elemental social practice. he course
will place special emphasis on the anal!tical strategies of cultural studies.
E() :0/-< *,6"C% "( ."L1< %6EC-L0*"9E C"(E10 =Group <?
(eWeese% (an
deweesed4pdx.edu
hank !ou.
G5peculati"e cinema%H is a term used much less often than its literar!
analogue% Gspeculati"e $ction.H :s a medium in which the means of
production are foregrounded as part of the productRaudiences often
conSate how a $lm was made with what the $lm GisHRwe ma! at some le"el
feel that all cinema contains a speculati"e element. What we will explore in
this course% then% are the critical wa!s in which Gspeculati"e cinemaH difers
in de$nition and content from Gspeculati"e $ction.H 'entered on and
o&sessed with looks and Gthe look%H $lm is particularl! adept at exploring
the power d!namics and manipulations latent in "isions and images.
=9anipulated images are% after all% what $lms are.? When these images
transport us to unknowa&le points in time and space% ofer us the power of
looking at an unknown G)ther%H or depict the in"isi&le in ph!sical form%
cinema speculates not onl! on other worlds and sel"es% &ut on its own
possi&ilitiesRand pro&lemsRas a medium. @n other words: we want to look
at the alien future &ecause it is dificult to see oursel"es% now. #ilms studied
will include ,etro0olis% !sland of Lost )ouls% (orbidden #lanet% (ahrenheit
123% %&&3% )olaris% 4alkabout% *ra5il% *lade "unner% ideodrome% and
others. @n addition to readings of criticism and short $ction% students will &e
asked to purchase the no"els The !n+ention of ,orel &! 'asares and
(ahrenheit 123 &! <rad&ur!.
E() :05-< *,6< =++ *,L?"E( =Group E?
:mato% Lat!a
amatok4pdx.edu
8.R.R. olkien has &een called Gthe author of the centur!H &ecause he is so
greatl! lo"ed% has &een compared to 8o!ce as a twentieth0centur! modernist =not
alwa!s to 8.R.R.Ds detriment?% and has &een seen &! man! as the great inno"ator
in *eowulf studies as well as in fantas! $ction. *e is a ma7or writer &elatedl!
entering the canon and one who seeks to gi"e his readers Ga Seeting glimpse of
8o!% 8o! &e!ond the walls of the world% poignant as grief.H We will approach his
work as literature% not as $lm% in his words Gthere and &ack again%H with
emphasis on the interlace of linguistics% medie"al literature% histor!% and
m!tholog!.
@n an informal 3C-A letter% olkien descri&ed himself: N@ am in fact a .obbit =in
all &ut siFe?. @ like gardens% trees and unmechaniFed farmlands> @ smoke a pipe%
and like good plain food =unrefrigerated?% &ut detest #rench cooking> @ like% and
e"en dare to wear in these dull da!s% ornamental waistcoats. @ am fond of
mushrooms =out of a $eld?> ha"e a "er! simple sense of humour =which e"en m!
appreciati"e critics $nd tiresome?> @ go to &ed late and get up late =when
possi&le?. @ do not tra"el much. @ lo"e Wales =what is left of it% when mines% and
the e"en more ghastl! sea0side resorts% ha"e done their worst?% and especiall!
the Welsh language.N @n this letter% 8.R.R. puts language last% &ut throughout his
life it was central to all his undertakings% e"ident in his great afection for )ld
and 9iddle English% 9edie"al Welsh% )ld Norse% and #innish linguistics and
m!tholog!.
hank !ou.
*he re$uired te;ts are all y *ol@ien<
The Tolkien "eader =NE: <allantine <ooks% 3CMM> reprinted man! times00we
will read N)n #air!0 5tories%N Nree and ;eaf%N and N#armer Giles of
*amN? @5<N ,0/+-0/+-,M03
The .obbit =<oston: *oughton 9iTin% 2,,3? @5<N 3/: C1A0,0
M3A03-,A20/
The Lord of the "ings =<oston: *oughton 9iTin% 2,,+? @5<N 3/:
C1A0,0M3A0M+,3-01
Re6uirements: Regular attendance% keeping up with the reading% 6uiFFes% a $nal
exam% and a retrospecti"e letter.
E() :05-< *,6 "( ."L1<*+0(%CE(D0(* *EA*%< *8E )0*ELE%%
)0*E =Group E?
<ohnaker% William
&hw&4pdx.edu
;anguage is generall! thought to &e a reSection of the world or the
aesthetic imagination. <ut what happens when the word tries to step
through the looking glass itselfK 'an it transcend itselfK What is there&!
transcended% and what is the transcendence that resultsK :nd what
happens when the word returns to this side of the mirror and tries to
represent the unrepresenta&leK WeOll examine some classic and
contemporar! texts of transcendence from Uen% 5u$sm% Gnosticism% $ction%
and the like% attenti"e to their uni6ue literar! and cultural protocols of
representation and practice% hoping to disco"er% what% after all% is the sound
of one hand clapping.
E() :0B-< %C"E(CE ."C*",( =Group E?
Lnight% <ill
wpk4pdx.edu *he %pace ,pera
he Nspace operaN00 science $ction ad"enture set largel! in space or within
interstellar or interplanetar! conSicts00 is among the most recogniFa&le of
sci0$ modes. What does it ofer usK What are the possi&ilities of the form
and its plots% conSicts% characters% and wa! of telling us stories that reSect
our own world through the mirror of outer0space encounters and inter0
wordl! engagementsK WeOll examine a set of some of the most rewarding
and accomplished works of the genre% asking what it is that this wa! of
stor!telling does with our world and our awareness% and how such works of
imaginati"e distance might allow us to see things a&out our world that
otherwise might &e kept untold or hidden. WeOll chart a path from Ender6s
'ame =and examine the contro"ers! surrounding its authorOs political and
hank !ou.
moral statements% considering the wa! the text responds to and interacts
with these? to the more terrestriall! grounded and politicall! inclined works
of Brsula L. ;eguin =The 7is0ossessed? and Lim 5tanle! Ro&inson ="ed
,ars? to re"isions of the mode that are compellingl! ironic and complex
such as 5amuel R. (elan!Os No+a and :lastair Re!noldsO "e+elation )0ace.
English /,1 will &e a course of reading full of new ideas% technologies%
interstellar conSicts% and far0Sung appraisals of human or earthl! life from
the exilic distance of outer space.
+e$uired *e;ts<
)rson 5cott 'ard. Ender6s 'ame. @5<N: C1A0,A32--,1,2
5amuel R. (elan!. No+a. @5<N: C1A0,/1-1,M1,1
Brsula L. ;eguin. The 7is0ossessed. @5<N: C1A0,,M,-321-,
Lim 5tanle! Ro&inson. "ed ,ars. @5<N: C1A0,--/-M,1/2
:lastair Re!nolds. "e+elation )0ace. @5<N: C1A0,++3,,C+2A
E() :1/ *8E %8,+*E+ 6,E1 =Group E? 8yrid
(ePriest% 9aria
depriestm4pdx.edu
G*opeH is the thing with feathers00
hat perches in the soul00
:nd sings the tune without the words00
:nd ne"er stops00at all.
88Emily 7ickinson
<a&! donOt cr!
Gotta keep !our head up
E"en when the world is hard
Ne"er let up
00Tu0ac )hakur
+e$uired *e;ts< The Norton Anthology of #oetry, 5horter #ifth Edition
5uheir *ammad% 9aatar 7i+a
English /3- will meet in class for one hour on 9onda!s and Wednesda!s.
)n #rida!s% we will meet online for our (2; re6uired discussions.
#rom h!mns to hip0hop% this course explores the artistr! of the l!ric poetr!
on our reading list. We ha"e the luxur! of focusing on making meaning at
the le"el of indi"idual words% of asking% why that word and not another:
:nd we ha"e the pleasure of disco"ering wa!s in which the l!ric poem% as
*elen Iendler reminds us% Gtends to &e like the s!stole and diastole of the
heart: it has a center of concern around which it &eats. hat center
organiFes the rest. . .H o $nd those centers% those &eats% we will read and
recite aloud e"er! da!. We will also write% memoriFe% and anal!Fe as man!
diferent l!rical "oices as time allows. 'lass participation is a gi"en.
:ssignment details a"aila&le on the $rst da! of class.
hank !ou.
E() :15< *8E %8,+* %*,+7 =Group E?
:rante% 8ac6ueline
arante74pdx.edu
: sur"e! of the short stor! as it de"eloped from the tale% the legend% and the
anecdote to its modern form. :lthough $ction from man! literatures will &e
studied% all works will &e read in English.
E() :1C-< (,+*8E+( E-+,6E0( 17*8,L,)7
=Group ' pre03A,, 'atalog Eear &efore 2,3, or Group E ?
:mato% Lat!a
amatok4pdx.edu
'ome to Ialhalla% the 5pring of 9imir% the ;ands of the Giants and of the
(ark and ;ight El"es% and then tra"el south to the 'eltic )therworlds of
Wales and @reland &efore em&arking on a m!thic 7ourne! across :merica.
We will immerse oursel"es in Norse and 'eltic m!thologies collected and
redacted in medie"al @celand% Wales% and @reland and then see the m!ths at
pla! in a contemporar! text &! Neil Gaiman.
*he following translationsDeditions are reasonaly priced and
re$uired<
8esse ;. <!ock% trans.% The )aga of the olsungs =B' Press: <erkele!% 3CC,?
@5<N ,0-2,0,MC,+0A
:nthon! #aulkes% trans.% Edda &! 5norri 5turluson =E"er!man V(entW:
;ondon% 3CA1% rpt 2,,2?
@5<N ,0+M,0A1M3M0/
'arol!ne ;arrington% trans.% The #oetic Edda =)xford BP: )xford% 3CCM?
@5<N ,03C02A/C+M02
homas Linsella% trans.% The T;in =)xford BP: ;ondon% 3C1,? @5<N 3C0
2A3,C,03
8efre! GantF% trans.% Early !rish ,yths and )agas =Penguin: 9iddlesex%
3CA3?
@5<N ,03+0,++/C10-
Patrick L. #ord% trans.% The ,abinogi and -ther ,edie+al 4elsh Tales =B'
Press: <erkele!% 3C11?
@5<N ,0-2,0,/+3+01
Neil Gaiman% American 'ods =*arperorch: NE% 2,,3? @5<N ,0/A,01AC,/0-
"e<uirements$ Regular attendance% keeping up with the reading% the usual
exams% a short paper% and a retrospecti"e letter.
E() :20-< E()L"%8 (,9EL =Group '?
5m!th% 8ohn
sm!th74pdx.edu
hank !ou.
We will read:
;aurence 5terne% The Life and -0inions of Tristram )handy
@sak (inesen% Ehrengaard
Iladimir Na&oko"% Lolita
#lann )D<rien% The Third #oliceman
@nstead of attempting a sur"e! of the de"elopment of the no"el in English
from% sa!% "obinson Crusoe onwards% this course will simpl! stud! four
no"els written in English that suggest the technical range and intellectual
sophistication% as well as com&ination of seriousness and comed!% to &e
found in the genre. GEnglishH here includes an @rishman% a Russian% a
(anish woman% and one man from Eorkshire in England. We will also discuss
the $lms made of Tristram )handy and Lolita.
Primar! re6uirements: wo su&stantial essa!s and an in0class presentation.
E() ::2-< 8"%*,+7 ,. C"(E10 0(D (0++0*"9E 1ED"0 "
<err!% 5arah
s&err!4pdx.edu
5ur"e!s the histor! of cinema and narrati"e media from the late nineteenth0
centur! mo"ing image
through the 5econd World War.
E() :44-< 9"C*,+"0( L"*E+0*-+E =Group ' or E?
9ercer% ;orraine
mercer4pdx.edu
NNo stor! is the same to us after a lapse of time> or rather we who read it
are no longer the same interpreters.N George Eliot% from Adam *ede
*e;ts may include<
George Eliot% )ilas ,arner
'harlotte <ronte% =ane Eyre% the <edford 'ritical Edition
homas *ard!% Tess of the 7>?rber+illes
English Iictorian Poetr!% (o"er hrift Edition% editor% Paul Negri
5upplemental material pro"ided in hard cop! or on the we&% especiall! at
the Iictorian We& site at http://www."ictorianwe&.org/
E() :/2-< 0.+"C0( 01E+"C0( L"*E+0*-+E "" =Group <?
=*!&rid?
<ahareh ;ampert
&lampert4pdx.edu
@n this course% we will take up the stud! of :frican0:merican literar!
traditions &! examining a num&er of ground&reaking texts from the late
hank !ou.
nineteenth and earl! twentieth centuries. We will pa! particular attention
to "isions of Reconstruction% the *arlem Renaissance% migration from rural
to ur&an landscapes% and tra"el across the B5 and around the world% while
also focusing on issues of genre and the formal 6ualities of the literature.
+e$uired *e;ts<
8ames Weldon 8ohnson% The Autobiogra0hy of an E@8Coloured ,an =C1A0
,+AM2A-322?
Uora Neale *urston% Their Eyes 4ere 4atching 'od =C1A0,,M332,,M,?
;orraine *ans&err!% A "aisin in the )un =C1A0,M1C1--///?
8ean oomer% Cane =C1A0,A13+,23,/?
Nella ;arsen% #assing =C1A0,A3/-331,2?
E() :5/-< 01E+"C0( ."C*",( "" =Group '?
<ahareh ;ampert
&lampert4pdx.edu
9igration% Negotiation% ransformation
his course is a stud! of :merican $ction from the late nineteenth to the
mid0twentieth centur!% a period of profound rupture and Sux in the nationDs
histor!. We will focus on how narrati"es of transformation reSect
fundamental shifts in :merican conceptions of identit!% communit!% space%
and possi&ilit!.
+e$uired *e;ts<
9ark wain% .uckleberry (inn =C1A0,+AM2A,M3-?
Paul ;aurence (un&ar% The )0ort of the 'ods =C1A0,+-3-/311/?
:nFia EeFierska% *read 'i+ers =C1A0,AC2--2C,,?
Nella ;arsen% Auicksand =C1A0,A3/-331,2?
William #aulkner% The )ound and the (ury =C1A0,/C/CM+A3/?
(7una <arnes% Nightwood =C1A0,A3323M13-?
E() :5B-< *,6< =EW"%8 01E+"C0( L"*E+0*-+E E C-L*-+E
=Group < or '?
Weingrad% 9ichael
weingrad4pdx.edu
5tudies of "arious :merican literatures within the context of :merican
histor! and culture from
colonial period to the present. 9a! &e repeated with diferent topics.
Prere6uisite: 32 credits in literature.
E() :5B-< *,6< D"C?"(%,(> W8"*10(> %1"*8 2WE34 =Group '?
*art% Ellen
hank !ou.
ehart4pdx.edu
WeDll read a&out the cultural and historical contexts in which these writers
and performers li"ed. #or (ickinson and Whitman these were decades
marked &! increasing pu&lic appreciation for poetr!> !ears of creati"e
energ!% scienti$c disco"er!% religious de&ate% as well as political turmoil and
war% the :merican 'i"il War. @n the 3CM,s and 3C1,s Patti 5mith expanded
the possi&ilities for world changing% life sa"ing rock and roll. *er work is
marked &! the legac! of the <eat poets% the sexual re"olution% new wa"es of
feminism% the mo"ement for les&ian and ga! ci"il rights% struggles for social
7ustice% and the resistance to war.
:n important part of each artistDs work is his or her relationship to
religions% spiritual practices% ideas a&out faith and dou&t% and we will look
at the kinds of 6uestions the! ask a&out pra!er and communication with
God or gods in their poems and songs.
WeOll discuss the writersD processes of composition and re"ision% and the
progression of their work through earl!% middle% and later periods. :nd weOll
consider their inno"ati"e forms: (ickinsonDs poems and letters and the
complex literar! relationship &etween the two genres in her writing>
WhitmanDs poems% prose prefaces% and arranged "olumes for pu&lication% as
well as his 7ournal entries and letters> and Patti 5mithDs poems% songs% and a
memoir% her recent &ook% =ust /ids.
+e$uired *e;ts<
The #oems of Emily 7ickinson. Ed. R. W. #ranklin =3CCC?. Paper. @5<N
C1A,M1+,3A2+2
4ider than the )ky$ Essays and ,editations on the .ealing #ower of Emily
7ickinson. Eds. 'ind! 9acLenFie and <ar&ara (ana. Paper. @5<N C1A J , 0
A1//A 0 C3C 0 A
=ust /ids. Patti 5mith. Paper. @5<N C1A,,MM233/32
E() :5B-< *,6< )+EE( W,+LD "( -% 6,E*+7 2WE34 =Group '?
*art% Ellen
ehart4pdx.edu
his course explores the genre of :merican GnatureH poetr! in all its
di"ersit! and complexit!% taking an historical approach% from its roots in the
work of the earliest :merican poet% :nne <radstreet% pu&lished in 3M-,% to
9ar! )li"er% pro&a&l! the &est selling li"ing poet in :merica toda!% and
Natasha rethewe!% current Bnited 5tates Poet ;aureate. @n &etween weDll
read essa!s &! Ralph Waldo Emerson% on GNatureH and Ghe Poet%H and look
at work &! Emil! (ickinson% an engaged reader of Emerson% and his
contemporar!. WeDll read a former )regon Poet ;aureate% William 5taford%
as well as earl! <eat poet and en"ironmentalist% also with )regon
connections% Gar! 5n!der. he work of these poets asks us to examine their
hank !ou.
concern with the Ggreen worldH in relation to spiritualit! and religion% race%
region% and sustaina&ilit!. he &ackdrop for the course is the crisis of
climate change> weDll read the new no"el &! <ar&ara Lingsol"er and wrestle
with issues of art and polemic% examining the possi&ilities for literatureDs
contri&utions to consciousness and conscience.
+e$uired *e;ts<
(light *eha+ior. <ar&ara Lingsol"er. Paper. @5<N C1A,,M232+212
American #rimiti+e. 9ar! )li"er. Paper. @5<N3/: C1A,/3MM-,,+- @5<N3,:
,/3MM-,,+A
The #oems of Emily 7ickinson, Ed. R. W. #ranklin =3CCC?. Paper. @5<N
C1A,M1+,3A2+2
Turtle !sland. Gar! 5n!der. Paper. @5<N C1A,A332,-+M1
After /atrina. Natasha rethewe!. Paper. @5<N03/: C1A0,0A2,/0+/3302
@5<N03,: ,0A2,/0+/330,
E() :B2-< *8E 8-()E+ 0+*"%*% =Group <?
;incoln% 5arah
sarah.lincoln4pdx.edu
#rom the spiritual fasts of medie"al saints to the hunger strikes of political
prisoners% the Gfasting girlsH of nineteenth0centur! :merica to the anorexic
supermodels of our own time% power and resistance ha"e long &een
mediated through the encounter with food. *unger and eating are &oth
intensel! material and personal% and profoundl! s!m&olic% &espeaking
cultural% economic% political% ps!chological% aesthetic and historic attitudes
toward the &od!% &elonging% nature% Gci"iliFationH and "alue. @n this class% we
will consider the signi$cance of appetite% hunger% the &od!% and the
performance of consumption to our understanding of gender% sexualit! and
race in modern culture. :long with memoirs and theoretical approaches to
the 6uestion of Gdisorderl! eating%H we will read a range of no"els% short
stories% $lms and other texts to examine how literature contri&utes to or
challenges cultural discourses a&out hunger. Personal writing and
reSection% two short essa!s% a presentation% and acti"e% enthusiastic
participation will &e expected.
+e$uired *e;ts<
9argaret :twood% The Edible 4oman =C1A0,/A-+C3,MC?
8.9. 'oetFee% Life B Times of ,ichael / =C1A0,3+,,1++A2?
;indse! 'ollen% There is a Tide =pro"ided "ia pdf?
sitsi (angarem&ga% Ner+ous Conditions =C1A0,C-+1,2//-?
Portia (e Rossi% ?nbearable Lightness$ A )tory of Loss and 'ain =C1A0
3+/C3111C2? =possi&l!?
E() :F/< C,(*E16,+0+7 L"*E+0*-+E "" =Group '?
;im&u% <ishupal
hank !ou.
lim&u4pdx.edu
@n this course we will read $ctional and non$ctional accounts of life in the
ur&an metropolises of the world% with a particular focus on cities of the
glo&al 5outh.
6rimary te;ts<
5am 5el"on% The Lonely Londoners =@5<N: C1A0,-A2M+2M+-?
'hris :&ani% 'raceLand =@5<N: C1A0,/32+2-2AC?
@"an Iladisla"iX% #ortrait with /eys$ The City of =ohannesburg ?nlocked
=@5<N: C1A0,/C///-+,A?
Latherine <oo% *ehind the *eautiful (ore+ers$ Life, 7eath, and .o0e in a
,umbai ?ndercity =@5<N: C1A03+,,,M1--A?
e7u 'ole% -0en City =@5<N: C1A0,A32CA,,C1?
E() :FB-< W,1E(G% L"*E+0*-+E =Group <?
(ePriest% 9aria%
depriestm4pdx.edu
: close stud! of writing &! women from the medie"al period to the present
including poetr!% drama% $ction and non0$ction.
E() 410< *,6< 1E%%"08% "( 1,DE+( =EW"%8 L"*E+0*-+E
=Group <?
Weingrad% 9ichael
weingrad4pdx.edu
E() 414 C,(*E16,+0+7 C,16,%"*",( *8E,+7 =Group (?
;eon% Lendall
kenleon4pdx.edu
his course will pro"ide an o"er"iew of current trends in composition theor!
and pedagog! that expand and remake the who/what/when/where and how
of 'omposition. @n particular we will focus on composition theories and
pedagogies such as cultural and critical> digital writing> multimodal>
multilingual> space and place &ased> ser"ice learning and communit! &ased>
and afect and em&odiment in writing classrooms and processes.
5ome of the 6uestions guiding this course are: *ow ha"e theories changed
composition as a $eldK What is the relationship &etween theor! and practice
Rand how do we go a&out maintaining that relationshipK What is the realm
and work of 'ompositionK
his will &e a reading intensi"e class. @n addition to readings% the work of
the class will include weekl! response writing> discussion leading> a mid
term exam> and a $nal pro7ect. Readings will &e pro"ided &! the instructor
and/or a"aila&le through the li&rar!.
hank !ou.
his course ful$lls the theor! re6uirement for graduate students.
E() 441< 0D9 *,6< =0C,3E0( D+010 =Group ' pre03A,,?
Greenstadt% :m!
greens4pdx.edu
@n this course we will read a&out 3-02, works of English drama written from
3M,/ to 3M+-% co"ering the periodDs ma7or genres% such as re"enge traged!%
Gcit!H comed!% and courtl! mas6ue% and a wide "ariet! of topics% including
witchcraft% cross0dressing% alchem!% chastit!% and incest.
E() 44:< ("(E*EE(*8 CE(*-+7 3+"*"%8 W,1E( W+"*E+%
=Group <% ' or E?
9ercer% ;orraine 28yrid4
mercer4pdx.edu
his is a course that focuses primaril! on literature &! <ritish women in the
3C
th
centur!. he de"elopment of the narrati"e "oice in 3C
th
centur!
literature is one reason this is such a rich area of stud!. :longside the
no"els we will read some of the ma7or poets to pro"ide context for the
course and to examine how narrati"e "oice e"ol"es in the form of the poem.
;ike the nineteenth centur! no"el% poetr! of the period often centers on the
indi"idual and the social situation.

Readings ma! include works &! 8ane :usten% 'harlotte <ronte% Emil!
<ronte% George Eliot% EliFa&eth <arrett <rowning and 'hristina Rossetti
among others.
his class is a h!&rid and meets one da! in the classroom and in addition
has online content and re6uirements deli"ered through (2;.
E() 44F< 10=,+ .")-+E% "( L"*E+0*-+E< ."*H)E+0LD>
8E1"()W07> .0-L?(E+
'lark% 9ichael =Group ' 0+,,?
clarkm4pdx.edu
'oncentrated stud! of the canon of one or more ma7or writers: for example%
'haucer% he <rontes% 8ames 8o!ce% *emingwa! and #itFgerald.
Prere6uisites: Eng /,,. Expected preparation: A additional upper di"ision
literature credits
E() 454< 0D9 *,6< W"LL0 C0*8E+ E +E0D"() I-EE+L7 =Group
' ?
Ensor% 5arah
sensor4pdx.edu
hank !ou.
What does 6ueer theor! look like when it has an o&7ect J namel!% a literar!
text J in its sightsK *ow can the theoretical insights and critical claims of
such scholars as 9ichel #oucault% 8udith <utler% and E"e Losofsk! 5edgwick
inform literar! techni6ue and readerl! practiceK @n this course% we will ask
what it means to read 6ueerl! and% relatedl!% what makes a text 6ueer. @s
reading =or writing? 6ueerl! a matter of themeK )f formK )f st!leK )f the
writerDs &iograph!K )f the charactersD ha&its of relationK
We will &egin to answer these 6uestions =while undou&tedl! raising man!
others? &! reading a series of no"els &! the :merican writer Willa 'ather%
whose o&li6ue and complicated relationship to her charactersD J and her
own J sexualit! has made her work a fa"orite o&7ect of attention among
6ueer theorists% e"en those who donDt customaril! turn their attention to
:merican literature. We will read 'ather no"els% short stories% and essa!s
alongside "ariousl! 6ueer interpretations of them% de"eloping our own
practice of G6ueer readingH &! attending closel! &oth to 'atherDs own
topics% st!le% and form and to the "arious wa!s in which these aspects of her
writing ha"e &een engaged &! 6ueer scholars. :s we proceed% we will also
trace the forms of communit! forged &etween and among 6ueer critics%
considering how works of criticism respond not onl! to the tenets of 6ueer
theor!% and not onl! to 'atherDs writing% &ut also to one another. o what
extent is literar! criticism fundamentall! a social practiceK :nd how might
we understand the forms of indirect or triangulated relation that these
critics forge with each other &! wa! of their shared engagement with
'ather as themsel"es &eing 6uintessentiall! 6ueerK
+e$uired *e;ts<
Willa 'ather% - #ioneersC @5<N03/: C1A0,+AM211A-3
Willa 'ather% ,y Antonia @5<N03/: C1A0,+AM2A2+,+
Willa 'ather% The #rofessor>s .ouse @5<N03/: C1A0,M1C1/3A,3
Willa 'ather% 7eath Comes for the Archbisho0 @5<N03/: C1A0,M1C12AAC+
Willa 'ather% )a00hira and the )la+e 'irl @5<N03/: C1A0,/,11/CM-,
E() 45B< 0D9 *,6< 01E+"C0( C+"1E ."C*",( =Group '?
9irpuri% :noop
amirpuri4pdx.edu
his course will examine the o&session with crime in :merican $ction and
the popular imagination. What are the roots of this o&sessionK *ow does it
manifest itself within narrati"e formK What kinds of anxieties does it
expressK *ow has this o&session &een harnessed towards "arious political
and economic endsK @s it the social and cultural destin! of crime $ction to
ser"e conser"ati"e and reactionar! aims &! representing threats to the &od!
politicK )r is there a radical and critical edge to certain iterations of the
genreK What constitutes the diference &etween these functionsK We will
read a selection of canonical crime $ction and $lm. We will also attempt to
re0en"ision the con"entional understanding of this genre% its roots% and its
ofshoots. What is the relation &etween crime $ction and the WesternDs
hank !ou.
representation of the lawless frontierK )r &etween these% the neo0sla"e
narrati"e% and the specter of the sla"e re"oltK o what extent can these
narrati"es help us rethink the relationship &etween our understandings of
crime and the modern histories of "iolence against the indigenous% non0
citiFens% sla"es% prisoners% and others thought of as enemies of the stateK
+e$uired *e;ts<
9orrison% *elo+ed @5<N: C1A03+,,,//+3M
*ammett% "ed .ar+est @5<N: C1A0,M1C122M3A
'aspar!% Laura% @5<N: C1A03--AM3-,-2
'handler% The *ig )lee0 @5<N: C1A0,/C+1-A
9el"ille% *artleby and *enito Cereno @5<N: C1A0,+AM2M+1/A
9c'arth!% *lood ,eridian @5<N: C1A0,M1C12A1-1
*imes% Cotton Comes to .arlem @5<N: C1A0,/C+1-CCCC
9osel!% 7e+il in a *lue 7ress @5<N: C1A0,1+/+-31CM
E() 4BF< 01E+"C0( 6,E*+7 "" =Group '?
<ettridge% 8oel
7m&ett4pdx.edu
his course will focus on :merican Poetr! from the second decade of the
twentieth centur! through the 3CA,s. We will &egin with 9odernist writers
like Wallace 5te"ens% 9arianne 9oore% .5. Eliot% and Gertrude 5tein. We
will then turn to the di"erse group of poets who follow 9odernism% from
writers like ;ouis Uukofsk! and EliFa&eth <ishop% to the New :merican
Poets =such as :llen Gins&erg and #rank )D*ara?. Next% we will examine the
"arious writers who take part in the narrati"e% free "erse poetr! that
dominates :merican letters in the postwar period% and we will pa! particular
attention to the GconfessionalH writing of Ro&ert ;owell and :drienne Rich.
We will take time as well to explore the poetr! of the <lack :rts mo"ement
and end &! reading se"eral of the poets now associated loosel! with
;anguage poetr!% like ;!n *e7inian% 'harles <ernstein% and Rae :rmantrout%
who cele&rate textual disruption% dificult! and readersD participation in the
making of a poemDs meaning.
he undergraduate section of this class =ENG +1A? counts toward Group '
=Period 5tudies in <ritish and :merican ;iterature? of the English 9a7or. @t
ma! also count toward Group E =electi"es?.
he graduate section of this class =ENG -1A? will onl! count toward general
electi"e credits.
+e$uired *e;ts<
:llen Gins&erg% .owl and -ther #oems
;!n *e7inian% ,y Life
Ro&ert ;owell% Life )tudies
Gertrude 5tein% Tender *uttons
(a"id ;ehman =editor?% -@ford *ook of American #oetry
@5<Ns coming soon
hank !ou.
E() 4FB< C,(*E16,+0+7 01E+"C0( %8,+* %*,+7
#isher% ;!dia
l!dia.$sher4pdx.edu
he :merican short stor! from mid02,
th
centur! to the present.
Prere6uisites: ENG /,,. Expected preparation: A additional upper di"ision
literature credits.
E() 4C2< 8"%*,+7 ,. L"*E+0+7 C+"*"C"%1 "" 2Group :: heor!
re6uirement?
;im&u% <ishupal
lim&u4pdx.edu
his course examines Western critical approaches to language and
literature from the mid0nineteenth centur! to the present. We will explore
"arious schools% mo"ements% and su&7ects including 9arxism%
ps!choanal!sis% formalism% linguistics and poetics% structuralism%
poststructuralism% feminism% :frican0:merican criticism% postcolonialism%
and the like. <esides pro"iding a solid foundation in the histor! of literar!
criticism and theor!% this course will also allow !ou to engage with the ideas
of important thinkers such as 9arx% #reud% #oucault% (errida% #anon% <utler%
and others. @t will enrich !our understanding of concepts that are often
taken for granted =the author% representation% culture% diference%
hegemon!% etc.? and thus ena&le !ou to think more ro&ustl! a&out literature.
+e$uired *e;t<
The Norton Anthology of Theory and Criticism% 2
nd
edition =@5<N: C1A0
,/C/C/2C2A?
E() 4C4< *,6"C "( C+"*"C0L *8E,+7 0(D 1E*8,D% =Group :?
*unt% :lastair
ahunt4pdx.edu
(econstructions
G8ac6ues (errida% :&struse heorist% (ies at 1+%H ran the title of an
o&ituar! pu&lished in the New Dork Times on )cto&er 3,% 2,,+. he article
itself contained the following 6uote from a 7ournalism professor: G9an!
otherwise unmalicious people ha"e in fact &een guilt! of wishing for
deconstructionDs demiseRif onl! to relie"e themsel"es of the &urden of
tr!ing to understand it.H
hank !ou.
his course will help students tr! to understand deconstruction and to
understand that tr!ing to understand it is00the a&o"e statement to the
contrar!00not a &urden. #urther% it will also tr! to understand what it is
a&out deconstruction that% more than an! other form of theor!% makes some
people want to respond &! hoping it would die. :nd e"en more than this% it
will ask wh!% gi"en all the $gurati"e death threats directed at it%
deconstruction sur"i"es in a di"ersit! of contemporar! forms and continues
to &e the most inSuential theoretical discourse de"eloped in literar! studies
in modern times.
:fter some preliminar! consideration of deconstructionDs important
precursors in philosoph! and linguistics =Rousseau% NietFsche% *eidegger%
and 5aussure?% we will spend some time engaging two seminal statements
and performances of deconstruction: 8ac6ues (erridaDs -f 'rammatology
and Paul de 9anDs Allegories of "eading. #rom this platform% we will then
trace more recent% inno"ati"e iterations of deconstruction up till the present
times on such topoi as gender% sexualit!% law% poetr!% the political%
pragmatism% mass media% and humanism. :part from (errida and de 9an%
the authors we will examine include <ar&ara 8ohnson% 8udith <utler% ;ee
Edelman% Rei erada% Ga!atri 'hakra"ort! 5pi"ak% 'ar! Wolfe% plus a
selection of literar! texts.
#inall!% &! the end of this course% !ou will see that it is simpl! not true
that% as the a&o"e 6uotation suggests% deconstruction is somehow
incomprehensi&le. his does not mean% howe"er% that it is not intellectuall!
demanding. While the sur"i"al of deconstruction will at no point &e in
dou&t% neither the instructor not the (epartment of English can guarantee
!our sur"i"al.

+e$uired *e;ts<
8ac6ues (errida% -f 'rammatology =8ohns *opkins? @5<N ,A,3A-A/,-
8ac6ues (errida% "ogues$ Two Essays on "eason =5tanford? @5<N
,A,+1+C-3-
Paul de 9an% Allegories of "eading$ (igural Language in "ousseau,
Niet5sche, "ilke, and #roust =Eale?
@5<N ,/,,,2A+-A
his course ful$lls the following re6uirements: Group :: electi"e in
ad"anced criticism and practice.
E() /0B< %E1< *8E L"*E+0*-+E ,. +0D"C0L DE1,C+0C7
*unt% :lastair
ahunt4pdx..edu
<e realistic% demand the impossi&leY
R :non!mous grafiti% Paris% 9a! 3CMA

@n their 3CA- &ook .egemony and )ocialist )trategy% 'hantal
9oufe and Ernesto ;aclau argue for what the! called Gradical democrac!.H
his term has since &een taken up &! a num&er of writers who% skeptical of
li&eral and conser"ati"e notions of democrac! as well as 9arxismDs long
hank !ou.
wariness of democrac! as a guise for capitalism% call for a trul! democratic
politics. @n 8ac6ues (erridaDs 3CC/ essa! GPassions: :n )&li6ue )fering%H
we $nd the following chiasmus: GNo democrac! without literature> no
literature without democrac!.H
aking up the pro"ocation of &oth of these two statements% we will ask
after the relations &etween literature and democrac!. We will do so as
literar! critics% that is% as careful readers% of two sorts of texts% though we
will ultimatel! 6uestion the codes of decision that cast them as diferent
sorts. #irst we will read a wide selection of recent and contemporar! texts
in radical democratic theor! from such authors as Ztienne <ali&ar% :lain
<adiou% 8ac6ues Ranci[re% 9ichael *ardt and :ntonio Negri% 8ac6ues
(errida% Ernesto ;aclau% 'hantal 9oufe% 8ean0;uc Nanc!% *annah :rendt%
and (a"id Grae&er. he second sort of texts will &e works of literature that
em&od! radical democrac! in their theme and/or form. he aim will not
simpl! &e to appl! the theor! to the literature% to show that literature
"eri$es the propositions of theor!. Rather% we will tr! to think thorugh
(erridaDs suggestion that democrac! has conditions we might call literar!.
+e$uired *e;ts<
(a"id Grae&er% The 7emocracy #roject =5piegel and Grau? @5<N
C1A,A32CC/-M3
Perc! <!sshe 5helle!% )helley>s #oetry and #rose =Norton? @5<N
,/C/C11-2A
:nd others <(.
his course ful$lls the following re6uirements: -,1 graduate seminar.
E() /0B< %E1< 6,%*C,L,("0L EC,L,)7
;incoln% 5arah
sarah.lincoln4pdx.edu
(espite the longstanding interest of writers% poets and $lmmakers from
postcolonial sites in ecological and en"ironmental issues% critics in these
$elds =postcolonialism and ecocriticism? ha"e onl! recentl! &egun talking to
each other. We will make our own contri&utions to this con"ersation &!
reading% discussing and criticall! responding to a range of literar! works
from these Gunderde"elopedH or otherwise peripheral regions of the world%
works that speci$call! address 6uestions of sustaina&ilit!% waste% human
interactions with their en"ironment% and the li"es of animals in a
postcolonial context. We will &egin &! considering the relationship &etween
colonialism and nature% empire and the en"ironment% &efore turning to
some literar! and non0$ctional responses to two postcolonial ecological
disasters: the gas leak at <hopal% @ndia in 3CA+% and the ongoing de"astation
of the oil0producing regions of the Niger (elta. hese e"ents cast light on
the limits and conse6uences of unrestrained Gde"elopment%H helping us
think further a&out the ecological efects of Gglo&aliFation%H GmoderniFationH
and other progress narrati"es. he remainder of the term will &e taken up
with works that explore alternati"e wa!s of li"ing% doing and &eing in the
hank !ou.
world% from eco0tourism to G'reoleH ecologies% human0animal h!&ridit!%
Gafirmati"e precarit!%H rec!cling% and sustaina&le gardening. 'ourse
expectations include regular online posts% a $nal paper% and participation in
a concluding Gs!mposium.H
+e$uired *e;ts<
89 'oetFee% Life B Times of ,ichael /. =C1A0,3+,,1++A2?
:mita" Ghosh% The .ungry Tide =,M3A133MM\?
*elon *a&ila% -il on 4ater =C1A0,/C///CM+2?
8amaica Lincaid% ,y 'arden =C1A0,/1+-211M3?
5hani 9ootoo% Cereus *looms at Night =C1A0,A,23++M23?
@ndra 5inha% Animal>s #eo0le =C1A03+3M-1A1CM?
E() /0B< %E1< +E(0"%%0(CE 1E*01,+68,%E%
Walker% 8onathan
7awalker4pdx.edu
Pro&a&l! no other classical text exercised the minds and imaginations of
English Renaissance writers as much as )"idDs ,etamor0hoses. he $fteen0
&ook poem takes as its central theme the ph!sical transformation of &odies%
including the gods into human and animal forms% humans into animal and
plant forms% rocks and other natural phenomena into human form% changes
in sex% and so on. The ,etamor0hoses was translated into English and
printed &! :rthur Golding in 3-M1% and the roughl! 3M- stories originall!
written and adapted &! )"id &ecame the su&7ect of countless poems% pla!s%
and allusions throughout the earl! modern period.
@n the seminar% we will explore the legac! of The ,etamor0hoses in earl!
modern England &! examining some of the wa!s that )"idDs stories of
transformation were themsel"es transmuted into new narrati"es in order to
ser"e the "aria&le tastes of Renaissance readers and pla!goers. o ac6uire a
sense of these new narrati"es and their $delit! to and de"iation from )"idDs
poem% we will spend the $rst three weeks or so of class reading the entiret!
of The ,etamor0hoses% after which we will read such texts as
5hakespeareDs A ,idsummer Night>s 7ream% #rancis <eaumontDs G5almacis
and *ermaphroditus%H homas ;odgeDs )cillaes ,etamor0hosis% excerpts
from GoldingDs 3-M1 translation% among other pla!s and poems.
his seminar will &e reading0intensi"eRThe ,etamor0hoses alone is nearl!
--, pagesRand it will also &e largel! discussion0&ased. : presentation% a
short midterm essa!% and a longer research paper will &e re6uired. he
hank !ou.
course will also satisf! &oth a -,1 re6uirement and a pre03A,, re6uirement
for the 9.:. in English.
E() /0B< %E1< C,(%*+0"(*-30%ED W+"*"()
8ohn <eer and ;eni Uumas
7&eer4pdx.edu
Fumas4pdx.edu
Writing @nside the <ox: 'onstraints in Poetr! and #iction

No"els written eschewing certain letters% or patterned according to the
arot deck or pro&lems in chess> poems that gather doFens of translations
of a tercet from (ante% or document the authorDs ph!sical mo"ements in a
2+0hour period> writings of indeterminate genre that repeatedl! su&7ect the
same episode to st!listic "ariations% or record a month0long exploration of
highwa! rest stops: this graduate seminar will in"estigate a "ariet! of highl!
singular compositions% all of which share the 6ualit! of ha"ing &een written%
in part or entirel!% according to some go"erning 0rocedure or constraint.
'entrall!% weDll ask what a writer gains% and loses% &! adopting such an
approach% and also whether certain t!pes of constraint seem to &e more or
less generati"e of original and compelling work. WeDll also take a more
theoretical perspecti"e on the nature of constrained writing: what is its
histor!K @ts politicsK 'an such methods &e efecti"el! distinguished from
literar! form in generalK 5tudents will &e asked to complete &oth creati"e
and critical assignments.
+e$uired te;ts<
Georges Perec% A oid =trans. G. :dair> @5<N C1A03-M1C22CM1?
@talo 'al"ino% The Castle of Crossed 7estinies =trans. W. Wea"er> @5<N C1A0
,3-M3-+--,?
;!n *e7inian% ,y Life and ,y Life in the Nineties =@5<N C1A0,A3C-1/-3/?
<ernadette 9a!er% ,idwinter 7ay =@5<N C1A0,A3323+,M/?
Ra!mond Pueneau% E@ercises in )tyle =trans. <. Wright> @5<N C1A0
,A332,1ACA?
his course satis$es the following re6uirements:
9#: in 'reati"e Writing: Writing seminar =poetr! or $ction?% ;iterature%
Writing electi"e
9: in English: Graduate seminar
9:/95 in Writing: Writing electi"e =with ad"isor appro"al?
E() /1:< *E0C8"() 0(D *-*,+"() W+"*"()
9iller% *ild!
milleh4pdx.edu
:re !ou planning on teaching writing at either the college or secondar!
le"elK 9ost English grads who teach actuall! spend the ma7orit! of their
hank !ou.
time teaching writing. his special graduate0onl! course introduces !ou to
the theor! and practice of teaching and tutoring writing. WeDll focus on
writing processes =in"ention% re"ision% editing% formal and informal writing%
and writing groups?> teaching strategies =responding to writing% de"eloping
!our teaching ethos% working with E5; students% handling plagiarism%
teaching critical reading% and de"eloping a teaching philosoph!?> and look
at speci$c issues =how tutorial sessions work% what writing in the disciplines
means% how to create such teaching staples as a s!lla&us% a writing
assignment% a unit plan% and a lesson plan?. :nd !ouDll get actual teaching
experience &! spending at least / hours a week in a tutoring or teaching
practicum of !our choice &eginning the second or third week. 5o% in short%
this wonDt &e !our a"erage lecture class. @nstead% !ouDll &e reading and
researching materials% working in small groups% doing practice teaching and
tutoring sessions% producing formal and informal writing% and appl!ing all
!ouDre learning to !our practicum. :t the end of the course !ou should
possess &oth the tools and the con$dence to teach writing in an! context00
and "alua&le teaching experience.
E() /14< C,(*E16,+0+7 C,16,%"*",( *8E,+7 =Group (?
;eon% Lendall
kenleon4pdx.edu
his course will pro"ide an o"er"iew of current trends in composition theor!
and pedagog! that expand and remake the who/what/when/where and how
of 'omposition. @n particular we will focus on composition theories and
pedagogies such as cultural and critical> digital writing> multimodal>
multilingual> space and place &ased> ser"ice learning and communit! &ased>
and afect and em&odiment in writing classrooms and processes.
5ome of the 6uestions guiding this course are: *ow ha"e theories changed
composition as a $eldK What is the relationship &etween theor! and practice
Rand how do we go a&out maintaining that relationshipK What is the realm
and work of 'ompositionK
his will &e a reading intensi"e class. @n addition to readings% the work of
the class will include weekl! response writing> discussion leading> a mid
term exam> and a $nal pro7ect. Readings will &e pro"ided &! the instructor
and/or a"aila&le through the li&rar!.
his course ful$lls the theor! re6uirement for graduate students.
E() /1F< C,LLE)E C,16,%"*",( *E0C8"()
Lirtle!% 5usan
skirtle!4pdx.edu
@ntroduces and de"elops the theoretical and practical expertise of the
graduate teaching assistant in the area of college composition teaching.
9a! &e taken up to three times for credit.
Prere6uisite: appointment to teaching assistantship in English (epartment.
hank !ou.
E() /1C< 0D90(CED C,LLE)E C,16,%"*",( *E0C8"()
Lirtle!% 5usan
skirtle!4pdx.edu
'ontinues the de"elopment of the theoretical and practical expertise of the
graduate teaching assistant in ad"anced areas of college composition
teaching. 9a! &e repeated up to three times for credit.
Re6uired prere6uisite: appointment to 2nd !ear teaching assistantship in
English (epartment.
E() /:1< *8E ."ELD ,. E()L"%8
Greenstadt% :m!
greens4pdx.edu
(esigned for $rst0!ear students in P5BDs English 9: Program% he #ield of
English is a 30credit class that will help situate !ou within our program and
the discipline of English studies. his term the course will introduce !ou to
indi"idual facult! mem&ers at P5B and their scholarship. he spring will &e
de"oted to the topic of literar! canons and the de"elopment of !our own
personal GcanonH of texts that will ground !ou for the rest of !our time in
the program. )ur format will &e deli&eratel! loose so that we can address
an! concerns or 6uestions !ou ma! ha"e as the! come up.
E() /:1< 6+,.E%%",(0L DE9EL,61E(*
Greenstadt% :m!
greens4pdx.edu
: 30credit course designed for students in their second !ear =or &e!ond? of
the P5B English 9: program% Professional (e"elopment will help !ou
through the culminating phases of the program and the transition to life
after P5B =such as it is?. @n the winter term we will concentrate on
preparations for the culminating general exam a well as indi"idual studentsD
Pualif!ing Essa!s and #ocus :reas. 5pring term will &e de"oted to career
de"elopment. )ur format will &e deli&eratel! loose so that we can address
an! concerns or 6uestions !ou ma! ha"e as the! come up.
E() /:1< *,6< +8E* C,16 D"%C-%%",( )+,-6
9iller% *ild!
milleh4pdx.edu
Examines "arious theories% histor!% scholarship% pedagog!% and professional
de"elopment in the $eld of English 5tudies. opics alwa!s difer each term.
9a! &e repeated for up to six credits.
hank !ou.
E() /BF< 01E+"C0( 6,E*+7 "" =Group '?
<ettridge% 8oel
7m&ett4pdx.edu
his course will focus on :merican Poetr! from the second decade of the
twentieth centur! through the 3CA,s. We will &egin with 9odernist writers
like Wallace 5te"ens% 9arianne 9oore% .5. Eliot% and Gertrude 5tein. We
will then turn to the di"erse group of poets who follow 9odernism% from
writers like ;ouis Uukofsk! and EliFa&eth <ishop% to the New :merican
Poets =such as :llen Gins&erg and #rank )D*ara?. Next% we will examine the
"arious writers who take part in the narrati"e% free "erse poetr! that
dominates :merican letters in the postwar period% and we will pa! particular
attention to the GconfessionalH writing of Ro&ert ;owell and :drienne Rich.
We will take time as well to explore the poetr! of the <lack :rts mo"ement
and end &! reading se"eral of the poets now associated loosel! with
;anguage poetr!% like ;!n *e7inian% 'harles <ernstein% and Rae :rmantrout%
who cele&rate textual disruption% dificult! and readersD participation in the
making of a poemDs meaning.
he undergraduate section of this class =ENG +1A? counts toward Group '
=Period 5tudies in <ritish and :merican ;iterature? of the English 9a7or. @t
ma! also count toward Group E =electi"es?.
he graduate section of this class =ENG -1A? will onl! count toward general
electi"e credits.
+e$uired *e;ts<
:llen Gins&erg% .owl and -ther #oems
;!n *e7inian% ,y Life
Ro&ert ;owell% Life )tudies
Gertrude 5tein% Tender *uttons
(a"id ;ehman =editor?% -@ford *ook of American #oetry
E() /C2< 8"%*,+7 ,. L"*E+0+7 C+"*"C"%1 "" 2Group :: heor!
re6uirement?
;im&u% <ishupal
lim&u4pdx.edu
his course examines Western critical approaches to language and
literature from the mid0nineteenth centur! to the present. We will explore
"arious schools% mo"ements% and su&7ects including 9arxism%
ps!choanal!sis% formalism% linguistics and poetics% structuralism%
poststructuralism% feminism% :frican0:merican criticism% postcolonialism%
and the like. <esides pro"iding a solid foundation in the histor! of literar!
criticism and theor!% this course will also allow !ou to engage with the ideas
of important thinkers such as 9arx% #reud% #oucault% (errida% #anon% <utler%
and others. @t will enrich !our understanding of concepts that are often
hank !ou.
taken for granted =the author% representation% culture% diference%
hegemon!% etc.? and thus ena&le !ou to think more ro&ustl! a&out literature.
+e$uired te;t< The Norton Anthology of Theory and Criticism% 2
nd
edition
=@5<N: C1A0,/C/C/2C2A?
Writing Course Descriptions-Winter 2014
Please check online for most up to date course oferings
http://www.sa.pdx.edu/soc/
Writing students who miss the frst class meeting or fail to notify the
instructor may e dropped from the course!
Course schedules are subject to change in the frst week of the term.
WR opics courses ma! ha"e generic titles in the schedule.
#or course detail and speci$cs% please see the course descriptions listed &!
term at www.english.pdx.edu/'ourses.php
(epartment )fice is located in Neu&erger *all Room +,-.
Phone .: -,/012-0/-23. Email: eng4pdx.edu.
5ome graduate courses are restricted to students accepted into a speci$c
program% others ma! ha"e priorit! registration for students in their program
&ut allow others to enroll with instructor permission.
5ome upper di"ision writing courses ma! re6uire su&mission of a writing
sample and/or instructor appro"al. Please see online course footnotes for
details.
W+ 11/-004 "(*+, *, C,LLE)E W+"*"()
*uddleston% 5arah
shh24pdx.edu
: writing course for $rst0!ear students to help prepare them for freshman
in6uir! or Wr 323. @ntroduces college0le"el writing and reading% along with
general stud! skills. Pro"ides practice at formal and informal writing%
hank !ou.
responding to a "ariet! of readings% learning textual con"entions% and
&uilding con$dence.
+e$uired *e;t<
Little )eagullEThey )ayE)eagull "eader "%3( C1A,/C/3/M+2-
W+ 11/-00/ "(*+, *, C,LLE)E W+"*"()
RoFendal% <rian
roFendal4pdx.edu
: writing course for $rst0!ear students to help prepare them for freshman
in6uir! or Wr 323. @ntroduces college0le"el writing and reading% along with
general stud! skills. Pro"ides practice at formal and informal writing%
responding to a "ariet! of readings% learning textual con"entions% and
&uilding con$dence.
+e$uired *e;t<
W+ 121-002 C,LLE)E W+"*"()
;eon% Lendall
kenleon4pdx.edu
: writing course for lower0di"ision students% in which the! de"elop critical
thinking a&ilities &! reading and writing% increase their rhetorical
strategies% practice writing processes% and textual con"entions. @ncludes
formal and informal writing% responding to a "ariet! of readings% sharing
writing with other students% and re"ising indi"idual pieces for a $nal
portfolio of work.
+e$uired *e;t<
E+eryone is an Author =;unsford% Ede and 9oss% 2,32> @5<N 0:C:C:211B4
W+ 121-00: C,LLE)E W+"*"()
hacher% 'olin
cthacher4pdx.edu
portfolio of work.
hank !ou.
+e$uired *e;t<
W+ 121-004 C,LLE)E W+"*"()
Ian 'amp% homas
t"ancamp4pdx.edu
portfolio of work.
+e$uired *e;t<
W+ 210 )+0110+ +E.+E%8E+
Gendron% 8ames
gendron4pdx.edu
: writing course for students who wish to refresh their grammar skills.
Bsing informal and formal writing% it focuses on parts of speech%
sentence construction% and punctuation> tracking particular grammar
pro&lems> and learning to edit.
W+ 212 "(*+,D-C*,+7 ."C*",( W+"*"()
8afe% 5ara
7afe4pdx.edu
his workshop0st!le course familiariFes students with the foundational tools
of $ction writing. 5tudents will read and anal!Fe short $ction &! pu&lished
authors and &! their peers% and will share and recei"e fre6uent feed&ack on
their own work. )ther possi&le topics of exploration include writing and the
politics of representation% incorporating/transforming personal experience
into $ction% and the limits and possi&ilities of genre.
W+ 212 "(*+,D-C*,+7 ."C*",( W+"*"()
9cGint!% Patrick
pmcgint!4pdx.edu
@ntroduces the &eginning $ction writer to &asic techni6ues of de"eloping
character% point of "iew% plot% and stor! idea in $ction. @ncludes discussion
of student work. 9a! &e repeated once for a total of A credits.
Recommended: #reshman @n6uir!.
hank !ou.
W+ 212 "(*+,D-C*,+7 ."C*",( W+"*"()
Paulson% :.<.
paulsona4pdx.edu
@ntroduces the &eginning $ction writer to &asic techni6ues of de"eloping
character% point of "iew% plot% and stor! idea in $ction. @ncludes discussion
of student work. 9a! &e repeated once for a total of A credits.
Recommended: #reshman @n6uir!.
W+ 21: "(*+,D-C*",( *, 6,E*+7 W+"*"()
*odges% *eather
hhodges4pdx.edu
he course for students interested in learning to write poems as well as
those wanting to add a l!rical dimension to their prose.
@ntroduces the &eginning writer of poetr! to poetic elements
including meter% rh!me% lineation% $gurati"e language and sound. 5tudents
can expect to get some experience with formal "erse as well% e.g.% sonnet%
eleg!.
@ncludes close reading of work &! esta&lished poets% writing exercises and
discussion of student work.
he emphasis of this course is literar!.
W+ 214< "(*+,D-C*,+7 (,(."C*",( W+"*"()
=Pre"iousl! titled *eginning Nonfction 4riting?
'ollins% Paul
pcollins4pdx.edu
:n introduction to writing literar! non$ction% using works &! 8on Ronson%
(a"id 5edaris% and :lison <echdel to del"e into the skills that ha"e fostered
their art. <eginning with the raw material of exercises in description and
dialogue% weOll then write and discuss short works of creati"e non$ction.
his course ma! &e used for the Group @ re6uirement for the 9inor in
Writing. @t ser"es as a prere6uisite for the following upper di"ision WR
courses: +-M% +-1% +-A% +-C.
+e$uired *e;ts<
#un *ome =:lison <echdel?%
)n ;ooking =:lexandra *orowitF?%
:n Extraordinar! heor! of )&7ects =5tephanie ;aca"a?%
hank !ou.
hem =8on Ronson?%
Re6uiem for a Paper <ag =(a"! Roth&art?%
(ress Eour #amil! in 'orduro! and (enim =(a"id 5edaris?
W+ 222-00: W+"*"() +E%E0+C8 606E+%
Lachman% 'helsea
cgrimmer4pdx.edu
: writing course that focuses on writing and research processes. 5ince so
much of the writing that students do in the academ! in"ol"es secondar!
research% this course deals comprehensi"el! with $nding and narrowing
topics% locating materials% integrating secondar! research with oneOs own
text% and more. 'an &e helpful for students in lower di"ision to mid0career
who are looking for a course that focuses speci$call! on research writing.
W+ 222-00/< W+"*"() +E%E0+C8 606E+%
(annemiller% :lex
dannem24pdx.edu
:n electi"e course. he techni6ues for compiling and writing research
papers. :ttention to a"aila&le reference materials% use of li&rar!% taking
notes% critical e"aluation of e"idence% and con"entions for documenting
academic papers. Practice in organiFing and writing a long expositor!
essa! &ased on use of li&rar! resources. Recommended: Wr 323 or
#reshman @n6uir!. 9a! not &e used to ful$ll English ma7or re6uirements.
W+ 222-002< W+"*"() +E%E0+C8 606E+%
Warren% 5ean
swar24pdx.edu
W+ 222-004< W+"*"() +E%E0+C8 606E+%
Lnopf% (awn
d.m.knopf4pdx.edu
hank !ou.
W+ 222-001< W+"*"() +E%E0+C8 606E+%
9urph!% Rand!
murph!r4pdx.edu
W+ :12 "(*E+1ED"0*E ."C*",( W+"*"()
9oxle!% ;eanna
lmoxle!4pdx.edu
'ontinues the stud! of $ctional techni6ues intro0 duced in Wr 232.
@ncludes such ad"anced instruc0 tion as "ariations on the classic plot%
complex points of "iew% con"entions of genre% and de"elop0 ment of
ideas for future use. EmphasiFes discus0 sion of student work.
Recommended: < or a&o"e in Wr 232. 9a! &e repeated once for a total
of A credits. 'onsent of instructor re6uired.
W+ :12 "(*E+1ED"0*E ."C*",( W+"*"()
:&u08a&er% (iana
a&u7a&er4pdx.edu
'ontinues the stud! of $ctional techni6ues intro0 duced in Wr 232.
@ncludes such ad"anced instruc0 tion as "ariations on the classic plot%
complex points of "iew% con"entions of genre% and de"elop0 ment of
ideas for future use. EmphasiFes discus0 sion of student work.
Recommended: < or a&o"e in Wr 232. 9a! &e repeated once for a total
of A credits. 'onsent of instructor re6uired.
W+ :1: "(*E+1ED"0*E 6,E*+7 W+"*"()
Laplan% (an
dkaplan4pdx.edu
)"er the term% !ou will write new poems approximatel! e"er! week. 9uch
of our time will &e spent in workshopRthat li"el! forum in which !ou
pro"ide !our classmates with constructi"e feed&ack on their poems and
the! on !ours. We will also examine "arious elements and forms of poetr!>
hank !ou.
explore techni6ues and approaches to craft and re"ision> stud! the work of
pu&lished poets and other writers and artists> and undertake a host of
creati"e writing and thinking acti"ities.
#or permission to register% e0mail /0- poems !ou ha"e written and a
description of an! poetr!0writing courses !ou ha"e taken to the instructor
at dkaplan4pdx.edu. WR 23/ =@ntroduction to Poetr! Writing? is a
recommended prere6uisite.
W+ :2:-010 W+"*"() 0% C+"*"C0L "(I-"+7
<ond% 8ean
7&ond24pdx.edu
@n this class we will use writing and readings to explore our relationships
with modern digital culture. *ow do "ideo games% social media% and
smartphones impact our societ! and our li"esK *ow do our online personas
and relationships intersect with our oTine li"esK
he re$uired te;t is E@tra Li+es$ 4hy ideo 'ames ,atter &! om <issell
=@5<N C1A0,/,1+1+/3-?.
W+ :2:-004 W+"*"() 0% C+"*"C0L "(I-"+7
Pickard% EliFa&eth
epickard4pdx.edu
What does it mean to &e of the e"er!da!K What does it mean to &e
su&"ersi"eK @n order to unpack these concepts% this course will examine
e"er!thing from &odies and &us stops to punk st!le. @t will explore the
shifting cultural foundations that go into creating the ordinar! and
extraordinar!.
+e$uired *e;ts<
"eading the E+eryday &! 8oe 9oran% @5<N: C1A,+3-/31,C2
)ubculture$ the ,eaning of )tyle &! (ick *e&dige% @5<N:C1A,+3M1,AM,A
W+ :2:-001 W+"*"() 0% C+"*"C0L "(I-"+7
(unham% 8arrod
7dunham4pdx.edu
: writing course for upper0di"ision students% which ofers sophisticated
approaches to writing and reading. 5tudents enhance critical thinking
a&ilities &! reading and writing challenging material% re$ne their rhetorical
strategies% practice writing processes with special attention to re"ision and
st!le% and write and read in a "ariet! of genres. @ncludes formal and
informal writing% sharing writing with other students% and preparing a $nal
portfolio of work. Recommended: satisfactor! completion of Wr 323 or
#reshman @n6uir!.
hank !ou.
W+ :2:-005 W+"*"() 0% C+"*"C0L "(I-"+7
*odges% <en7amin
&hodges4pdx.edu
@n this section of Writing as 'ritical @n6uir!% students will in"estigate the
primac! of narrati"e in human cognition and attempt to determine how
much all writingRand indeed all reasoningRis &ound up in this peculiar
meta0discourse. :s scientism and rationalism continue to su&7ugate Western
societ! to peculiar opinions a&out the nature of knowledge% we often grow
up learning to distrust Gmere storiesH a&out realit! and to eschew narrati"es
in our own reasoningRin other words% to opt for the GfactsH instead.
his class will examine these perspecti"es &! interrogating the notion and
execution of narrati"e itself in order to understand all that this strange
discourse does and how much humans are dependent on it. We will tackle
this su&7ect with &oth theor! and practice: 'reati"e narrati"es and critical
anal!sis will accompan! !our own personal use and assessment of narrati"e
to understand components of !our own life.
+e$uired te;ts<
:&&ot% *. Porter. The Cambridge !ntroduction to Narrati+e. 2nd ed.
'am&ridge:
'am&ridge BP% 2,,A. =@5<N: ,-2313-3-M?
(ostoe"sk!% #!odor. 7emons. rans. Richard Pe"ear and ;arissa
Iolokhonsk!. New
Eork: Iintage @nternational% 3CC-. =@5<N: ,M1C1/+-33?
W+ :2:-00F< W+"*"() 0% C+"*"C0L "(I-"+7
<om&ardier% 'ooper ;ee
c&om&24pdx.edu
Writing from the 8interland of %elf< Iueering the 1emoir
*in
.
ter
.
land =/]hintr^land/ noun?: an area l!ing &e!ond what is "isi&le or
known.
@n this course we will read se"eral texts of self0representation which
G6ueerH &oundaries and cross lines in form% content% or &oth. We will
examine how these works push edges of self0as0su&7ect% &ump outer reaches
and darkened hinterlands of genre% gender% and what memoir can
accomplish as a form. 5tudents will expanded their critical approach to
reading with fre6uent short written responses as well as "igorous class
discussion. 5tudents will participate in writing workshops and will de"elop a
polished personal narrati"e non$ction piece of their own geared toward
su&mission to a pu&lication of their own choosing.
+e$uired *e;ts<
They )ay, ! )ay$ The ,o+es That ,atter in Academic 4riting &! Gerald
Graf and 'ath! <irkenstein "%3(-1:< C1A0,/C/C//M33
hank !ou.
Times )<uare "ed, Times )<uare *lue &! 5amuel R. (elan! "%3(-1:< C1A0
,A3+13C2,M
(un .ome$ A (amily Tragicomic &! :lison <echdel "%3(-1:< C1A0
,M3AA13133
The *eautifully 4orthless &! :li ;ie&egott "%3(-1: C1A,A12AM-13M
Close to the /ni+es$ A ,emoir of 7isintegration &! (a"id Wo7narowicF
"%3(-1:< C1A0,M1C1/221/
%2&& "andom Things About ,e Too &! 9atias Iiegener "%3(-1:< C1A0
3C/+2-+/-M
*luets &! 9aggie Nelson "%3(-1:< C1A03C//-31+,1
About a ,ountain &! 8ohn (O:gata "%3(-1:< C1A0,/C///C,31
W+ :2:-011< W+"*"() 0% C+"*"C0L "(I-"+7
9urph!% Rand!
murp!r4pdx.edu
: writing course for upper0di"ision students% which ofers sophisticated
approaches to writing and reading. 5tudents enhance critical thinking
a&ilities &! reading and writing challenging material% re$ne their rhetorical
strategies% practice writing processes with special attention to re"ision and
st!le% and write and read in a "ariet! of genres. @ncludes formal and
informal writing% sharing writing with other students% and preparing a $nal
portfolio of work. Recommended: satisfactor! completion of Wr 323 or
#reshman @n6uir!.
W+ :2B< *EC8("C0L +E6,+* W+"*"()
:rlene Lrasner
akrasner4pdx.edu
5trategies for presenting technical information from the technician%
management% and la! personDs perspecti"es> rhetorical theor! and
techni6ues for adapting technical prose to nontechnical audiences> and
techni6ues for emphasiFing and de0emphasiFing information.
Prere6uisite: Recommended 0 WR /2/
+e$uired *e;t<
The Elements of Technical 4riting &! homas E. Pearsall% @5<N 3/: C1A0,0
2,-0-A/A3 02
W+ :2B< *EC8("C0L +E6,+* W+"*"()
5autter% 9aralee
maralee4pdx.edu
hank !ou.
+e$uired *e;t<
2,-0-A/A3 02
W+ :2B< *EC8("C0L +E6,+* W+"*"()
<:
+e$uired *e;t<
2,-0-A/A3 02
W+ :::< 0D90(CED C,16,%"*",(
'lemenFi0:llen% <en7amin
&en7amin.clemenFiallen4pdx.edu
Essa! writing with particular attention to studentDs area of specialiFation.
:d"anced practice in essa! writing. Recommended: #reshman @n6uir! or
two writing courses.
W+ 410< *,6< 6-3L"%8"() +E%E0+C8
*enningsgaard% Per
per.henningsgaard4ooliganpress.pdx.edu
his one0credit course prepares students in the 9:/95 in Writing with a
specialiFation in Pu&lishing to complete the $nal paper that is re6uired for
graduation. @ntroduces students to the $eld of scholarl! writing on the
su&7ect of &ook pu&lishing% and prepares them to &e acti"e contri&utors to
this $eld. :fter reading some examples from this $eld and learning the
research skills that will ena&le them to $nd and anal!Fe more examples%
students will ha"e the opportunit! to workshop a draft of their $nal paper.
W+ 410< *,6< )+0110+ .,+ 6-3L"%8E+% E W+"*E+%
Linsella% Iinnie
"innie.kinsella4ooliganpress.pdx.edu
his writing0intensi"e course explores the connection &etween a writerDs
grammatical choices and their rhetorical efects. 5tudents will generate
weekl! writing assignments designed to help them learn the m!riad wa!s
grammatical knowledge can &e used to &olster a writerDs work. he course
hank !ou.
culminates with a classroom pu&lishing pro7ect showcasing the &est work
from each student.
W+ 410< *,6< "(., 0+C8"*EC*-+E D"*0 A1L =*!&rid?
9ant!ch% oni
tmant!ch4pdx.edu
"nformation 0rchitecture and %tructured -sing A1L and
D"*0
his edition of rends in echnical 'ommunication will pro"ide an
introduction to information architecture and structured authoring%
speci$call! as the! appl! to technical communication. he course will &e
&oth conceptual and practical% &eginning with a general o"er"iew of
information architecture and structured authoring and then using A1L% the
oAygen A1L Editor% and the Darwin "nformation *yping 0rchitecture
2D"*04 to structure% author% and pu&lish single0sourced% multiple0output
technical information pro7ects. 5uccessful students will lea"e the course
with a solid understanding of the principles of structured authoring>
familiarit! with the most commonl! used (@: elements% components% and
constructs> experience authoring content and creating deli"era&les in (@:
=using the )x!gen \9; Editor?> and a (@:0&ased technical communication
portfolio piece.
Note: his course is open to &oth undergraduate and graduate students.
Graduate students will &e asked to complete additional theoretical and
pro7ect work to recei"e graduate credit.
Course .ormat
*his is a hyrid course! "n-person meetings will e held from /<:0
pm-C<10 pm on the following 1ondays< 1D5> 1D2B> 2D10> 2D24 and :D1!
@nstructional materials for the weeks without on0campus meetings will
consist of recorded lectures% demonstrations% and other online materials
pro"ided through (2;% P5BDs online learning management solution.
5tudents will &e re6uired to su&mit assignments and participate in acti"ities
online e"er! week.
Course 9alue< Why *a@e *his CourseJ
<ecause learning how to author technical information in (@::
_ "ncreases your employaility! he percentage of 7o&s re6uiring or
preferring (@: experience continues to grow.
_ "mpro'es your earning potential! echnical communicators who know
(@: can demandRand are gettingRhigher salaries.
_ 0llows you to produce etter content more $uic@ly% &ecause (@::
o Ena&les single0sourcing and reuse to impro"e consistenc! and
reduce costs
o Ena&les interopera&ilit! with the applications !ou support and
with other s!stems =such as content management s!stems?
o Ena&les colla&orati"e authoring
o Reduces translation time and cost
o Reduces dependenc! on speci$c tools
hank !ou.
o @s Gextensi&leHRsupports information t!pes and pu&lishing
formats that we donDt e"en know a&out !et
W+ 41:< 0D90(CED 6,E*+7 W+"*"()
<eer% 8ohn
7&eer4pdx.edu
#urther re$nes technical skills &! demanding more am&itious works of
poetr! &! the ad"anced writer.
5tudents will ha"e an opportunit! to do research and can expect to confront
a "ariet! of technical pro&lems emerging from class discussion. he
exploration of "arious techni6ues% schools% and poetic "oices will &e
encouraged. Recommended: Wr /3/. 9a! &e repeated once for a total of A
credits.
Consent of instructor re$uired!
W+ 415< %C+EE(W+"*"()
(eemer% 'harles
cdeemer4!ahoo.com
:n introduction to screenwriting. No writing prere6uisites. #ocuses on
dramatic structure and stor! de"elopment% economic and "isual G"erticalH
writing% character de"elopment and economic suspenseful scene
de"elopment. :lso co"ers screenwriting in the real world% including contests
and marketing. 5tudents work on term script pro7ect =/ choices?. 'an &e
repeated once for credit =in which case the course &ecomes a one0on0one
tutorial "ia email and ofice hours?. exts are:
Practical 5creenwriting &! 'harles (eemer. @5<N C1A03-A-3,32A/
Now WriteY 5creenwriting &! 5herr! Ellis =ed?. @5<N 3-A-+2A-3-
8uno: he 5hooting 5cript &! (ia&lo 'od!. @5<N C1A03--1,+A,2A
W+ 420< 0D90(CED W+"*"()< 6+,CE%% E +E%6,(%E
Lirtle!% 5usan
skirtle!4pdx.edu
G5tories...create our $rst memories% from the stories we hear as children%
we inherit the wa!s we talk a&out how we feel% the "alues which we hold to
&e important% and what we regard as truth.H 009argaret 9eek
@n this ad"anced writing class we will compose in a "ariet! of genres%
working together to craft an oeu"re of creati"e approaches. he process
will &e colla&orati"e% as we teach one another through workshops and
discussions% &ringing to &ear our own knowledge and perspecti"es. he
hank !ou.
class engages in critical thinking% reading texts closel!% elucidating and
anal!Fing what we see. Please come prepared to write and experimentY
+e$uired *e;ts<
Negotiating with the 7ead% 9argaret :twood
W+ 42/< 0D90(CED *EC8("C0L W+"*"()
(illon% rac!
dillont4pdx.edu
Emphasis on a pro&lem0sol"ing approach to adapting technical documents
to audiences and organiFations. he course includes strategies of
organiFation for complex technical documents% such as proposals and
professional articles> strategies for discussing ta&les and $gures> and the
use of metaphor to communicate technical information to la! audiences.
Recommended: Wr /21. 9a! &e repeated for a maximum of A credits.
W+ 4/C< W+"*"() *8E 1E1,"+
Ponteri% 8a!
7ponteri4pdx.edu
6oint of 9iew
'oncentrates on elements necessar! for writing successful personal
narrati"e% including structure% tone/"oice% dialogue% characteriFation% tense%
and point0of0"iew. <ook0length memoirs will &e read and discussed and
students will turn in se"eral pieces o"er the course of the term for workshop
discussion. Prere6uisite: Wr 23+ or Wr 22A. "nstructor appro'al re$uired!
W+ 450 "(*+,D-C*",( *, 3,,? 6-3L"%8"()
Gaterud% :&&e!
a&&e!.gaterud4ooliganpress.pdx.edu
Pro"ides a detailed o"er"iew of the pu&lishing process% organiFed around
the di"ision of la&or% including introductions to contemporar! :merican
pu&lishing% issues of intellectual commerce% cop!right law% pu&lishing
contracts% &ook editing% &ook design and production% &ook marketing and
distri&ution% and &ookselling. <ased on work in mock pu&lishing companies%
students prepare portfolios of written documents% i.e.% &ook proposals%
editorial guidelines% design and production standards% and marketing plans.
Guest speakers from the pu&lishing industr! and $eld trips pro"ide
exposure to the industr!.
W+ 451 3,,? ED"*"()
*enningsgaard% Per
hank !ou.
Pro"ides a comprehensi"e course in professional &ook editing% including
editorial management% ac6uisitions editing% su&stanti"e/de"elopmental
editing% and cop!editing. @ssues speci$c to &oth $ction and non$ction &ooks
will &e co"ered.
W+ 452 3,,? DE%")( 0(D 6+,D-C*",(
Gaterud% :&&e!
'omprehensi"e course in professional &ook design and production. @ssues
speci$c to the design of $ction and non$ction &ooks in a "ariet! of genres
and markets will &e co"ered% including the applications of &oth old and new
technologies in design and production.
W+ 4B0 "(*ELLEC*-0L 6+,6E+*7 0(D C,67+")8*
'lark% 9ichael
clarkm4pdx.edu
)utlines the opportunities and pitfalls faced &! the writer =or editor% graphic
designer% or artist? in the legal and ethical spheres. 'op!right law% B.5. #irst
:mendment law% defamation% right of pri"ac!% trademark% and trade secret
law. Will discuss the importance of the @nternet in rethinking man!
cop!right and intellectual propert! rules.
W+ 4B1 6-3L"%8"() %,.*W0+E
(odd% Lelle!
kelle!.dodd4ooliganpress.pdx.edu
Pro"ides a strong &ase in the software used in the &ook pu&lishing industr!%
focusing on :do&e @n(esign. :lso explores :do&e Photoshop% @llustrator% and
:cro&at% as well as \*9; and e0&ook design. he class considers audience
expectations through a range of hands0on design pro7ects.
W+ 4B: DE9EL,61E(*0L ED"*"()
5tore!% 9eg
mstore!4pdx.edu
Explores the relationship &etween an editor% a writer% and the work in the
process of de"elopmental editingRalso known as glo&al% su&stanti"e% or
comprehensi"e editing. Examines historicall! signi$cant editor/author
relations% how the editorial process and relationships ha"e changed o"er
time% and how editorial expectations shift &ased on the expectations of the
pu&lisher% the constantl! changing glo&al marketplace% and the introduction
of new technologies.
W+ 4B4< 6-3L"%8"() %*-D",
hank !ou.
Gaterud% :&&e!
Perform the work of a real pu&lishing house% form ac6uiring manuscripts to
selling &ooks. Gain pu&lishing experience &! participating in the "arious
departments of a student0stafed pu&lishing house% )oligan Press.
(epartments include :c6uisitions% Editing% (esign and 5ustaina&le
Production% 9arketing% External Promotions% 5ales% (igital 'ontent% 5ocial
9edai% and Pro7ect 9anagement and )perations. Prere6uisities: Wr /,, or
Wr /32 or Wr /3/ or Wr /2+ or Wr /21 or Wr /2A or Wr //, or Wr /// or
Wr /C+ or Wr /CC.
W+ 4B/< 6-3L"%8"() L03
Gaterud% :&&e!
Wr /C+ or Wr /CC.
W+ 4BF< 6-3L"C0*",(% 10(0)E1E(*
Lenshole% #iona
;earn a&out the traditional &usiness model of &ook pu&lishing and how that
model is changing. 5tud! pro$t and loss% in"entor!% negotiation% and other
topics fundamental to running a pu&lishing house. 'o"ers &oth theor! and
real0world applications.
W+ /0B< %E1< 6,E*+7 0(D ."C*",(
8ohn <eer and ;eni Uumas
7&eer4pdx.edu
Fumas4pdx.edu Writing "nside the 3o;< Constraints in 6oetry
and .iction

No"els written eschewing certain letters% or patterned according to the
arot deck or pro&lems in chess> poems that gather doFens of translations
of a tercet from (ante% or document the authorDs ph!sical mo"ements in a
2+0hour period> writings of indeterminate genre that repeatedl! su&7ect the
same episode to st!listic "ariations% or record a month0long exploration of
highwa! rest stops: this graduate seminar will in"estigate a "ariet! of highl!
hank !ou.
singular compositions% all of which share the 6ualit! of ha"ing &een written%
in part or entirel!% according to some go"erning 0rocedure or constraint.
'entrall!% weDll ask what a writer gains% and loses% &! adopting such an
approach% and also whether certain t!pes of constraint seem to &e more or
less generati"e of original and compelling work. WeDll also take a more
theoretical perspecti"e on the nature of constrained writing: what is its
histor!K @ts politicsK 'an such methods &e efecti"el! distinguished from
literar! form in generalK 5tudents will &e asked to complete &oth creati"e
and critical assignments.
+e$uired te;ts<
Georges Perec% A oid =trans. G. :dair> @5<N C1A03-M1C22CM1?
@talo 'al"ino% The Castle of Crossed 7estinies =trans. W. Wea"er> @5<N C1A0
,3-M3-+--,?
;!n *e7inian% ,y Life and ,y Life in the Nineties =@5<N C1A0,A3C-1/-3/?
<ernadette 9a!er% ,idwinter 7ay =@5<N C1A0,A3323+,M/?
Ra!mond Pueneau% E@ercises in )tyle =trans. <. Wright> @5<N C1A0
,A332,1ACA?
his course satis$es the following re6uirements:
9#: in 'reati"e Writing: Writing seminar =poetr! or $ction?% ;iterature%
Writing electi"e
9: in English: Graduate seminar
9:/95 in Writing: Writing electi"e =with ad"isor appro"al?
W+ /10< *,6< 6-3L"%8"() +E%E0+C8
*enningsgaard% Per
his one0credit course prepares students in the 9:/95 in Writing with a
specialiFation in Pu&lishing to complete the $nal paper that is re6uired for
graduation. @ntroduces students to the $eld of scholarl! writing on the
su&7ect of &ook pu&lishing% and prepares them to &e acti"e contri&utors to
this $eld. :fter reading some examples from this $eld and learning the
research skills that will ena&le them to $nd and anal!Fe more examples%
students will ha"e the opportunit! to workshop a draft of their $nal paper.
W+ /10< *,6< )+0110+ .,+ 6-3L"%8E+% E W+"*E+%
Linsella% Iinnie
"innie.kinsella4ooliganpress.pdx.edu
his writing0intensi"e course explores the connection &etween a writerDs
grammatical choices and their rhetorical efects. 5tudents will generate
weekl! writing assignments designed to help them learn the m!riad wa!s
grammatical knowledge can &e used to &olster a writerDs work. he course
culminates with a classroom pu&lishing pro7ect showcasing the &est work
from each student.
W+ /10< *,6< "(., 0+C8"*EC*-+E D"*0 A1L =*!&rid?
hank !ou.
9ant!ch% oni
tmant!ch4pdx.edu
@nformation :rchitecture and 5tructured Bsing \9; and (@:
his edition of rends in echnical 'ommunication will pro"ide an
introduction to information architecture and structured authoring%
speci$call! as the! appl! to technical communication. he course will &e
&oth conceptual and practical% &eginning with a general o"er"iew of
information architecture and structured authoring and then using A1L% the
oAygen A1L Editor% and the Darwin "nformation *yping 0rchitecture
2D"*04 to structure% author% and pu&lish single0sourced% multiple0output
technical information pro7ects. 5uccessful students will lea"e the course
with a solid understanding of the principles of structured authoring>
familiarit! with the most commonl! used (@: elements% components% and
constructs> experience authoring content and creating deli"era&les in (@:
=using the )x!gen \9; Editor?> and a (@:0&ased technical communication
portfolio piece.
Note: his course is open to &oth undergraduate and graduate students.
Graduate students will &e asked to complete additional theoretical and
pro7ect work to recei"e graduate credit.
Course .ormat
*his is a hyrid course! "n-person meetings will e held from /<:0
pm-C<10 pm on the following 1ondays< 1D5> 1D2B> 2D10> 2D24 and :D1!
@nstructional materials for the weeks without on0campus meetings will
consist of recorded lectures% demonstrations% and other online materials
pro"ided through (2;% P5BDs online learning management solution.
5tudents will &e re6uired to su&mit assignments and participate in acti"ities
online e"er! week.
Course 9alue< Why *a@e *his CourseJ
<ecause learning how to author technical information in (@::
_ "ncreases your employaility! he percentage of 7o&s re6uiring or
preferring (@: experience continues to grow.
_ "mpro'es your earning potential! echnical communicators who know
(@: can demandRand are gettingRhigher salaries.
_ 0llows you to produce etter content more $uic@ly% &ecause (@::
o Ena&les single0sourcing and reuse to impro"e consistenc! and
reduce costs
o Ena&les interopera&ilit! with the applications !ou support and
with other s!stems =such as content management s!stems?
o Ena&les colla&orati"e authoring
o Reduces translation time and cost
o Reduces dependenc! on speci$c tools
o @s Gextensi&leHRsupports information t!pes and pu&lishing
formats that we donDt e"en know a&out !et
W+ /15< %C+EE(W+"*"()
hank !ou.
(eemer% 'harles
cdeemer4!ahoo.com
:n introduction to screenwriting. No writing prere6uisites. #ocuses on
dramatic structure and stor! de"elopment% economic and "isual G"erticalH
writing% character de"elopment and economic suspenseful scene
de"elopment. :lso co"ers screenwriting in the real world% including contests
and marketing. 5tudents work on term script pro7ect =/ choices?. 'an &e
repeated once for credit =in which case the course &ecomes a one0on0one
tutorial "ia email and ofice hours?. exts are:
Practical 5creenwriting &! 'harles (eemer. @5<N C1A03-A-3,32A/
Now WriteY 5creenwriting &! 5herr! Ellis =ed?. @5<N 3-A-+2A-3-
8uno: he 5hooting 5cript &! (ia&lo 'od!. @5<N C1A03--1,+A,2A
W+ /20< 0D90(CED W+"*"()< 6+,CE%% E +E%6,(%E
Lirtle!% 5usan
skirtle!4pdx.edu
G5tories...create our $rst memories% from the stories we hear as children%
we inherit the wa!s we talk a&out how we feel% the "alues which we hold to
&e important% and what we regard as truth.H 009argaret 9eek
@n this ad"anced writing class we will compose in a "ariet! of genres%
working together to craft an oeu"re of creati"e approaches. he process
will &e colla&orati"e% as we teach one another through workshops and
discussions% &ringing to &ear our own knowledge and perspecti"es. he
class engages in critical thinking% reading texts closel!% elucidating and
anal!Fing what we see. Please come prepared to write and experimentY
+e$uired *e;ts<
Negotiating with the 7ead% 9argaret :twood
W+ /21< 1.0 C,+E W,+?%8,6 "( ."C*",(
Uumas% ;eni
Fumas4pdx.edu

he graduate workshop in $ction focuses on the writing% re"ision% and
critical discussion of student short stories and chapters from no"els.
5tudentsD critical anal!ses of their peersD work are informed &! their stud!
of pu&lished $ction in the texts% supplemented &! lectures clarif!ing
technical strategies in the writing of $ction. his course is restricted to
graduate students admitted to the writing program. Preference gi"en to
hank !ou.
students working in this genre. 9a! &e taken six times for a total of 2+
credits in $ction.
W+ /22< 1.0 C,+E W,+?%8,6 "( 6,E*+7
#re!% Emil!
<:
he graduate workshop in poetr! focuses on the writing% re"ision% and
critical discussion of student poems. 5tudentsD "er&al and written critical
anal!ses of their peersD work are informed &! their reading of pu&lished
poems representing a range of formal strategies and historical and cultural
contexts% and &! their reading in prosod! and poetics. his course is
restricted to graduate students admitted to the writing program in poetr!.
9a! &e taken six times for a total of 2+ credits.
W+ /2/< 0D90(CED *EC8("C0L W+"*"()
(illon% rac!
dillont4pdx.edu
Emphasis on a pro&lem0sol"ing approach to adapting technical documents
to audiences and organiFations. he course includes strategies of
organiFation for complex technical documents% such as proposals and
professional articles> strategies for discussing ta&les and $gures> and the
use of metaphor to communicate technical information to la! audiences.
Recommended: Wr /21. 9a! &e repeated for a maximum of A credits.
W+ //C< W+"*"() *8E 1E1,"+
@ri"ing% :pricot
apricot4pdx.edu
6oint of 9iew
'oncentrates on elements necessar! for writing successful personal
narrati"e% including structure% tone/"oice% dialogue% characteriFation% tense%
and point0of0"iew. <ook0length memoirs will &e read and discussed and
students will turn in se"eral pieces o"er the course of the term for workshop
discussion. Prere6uisite: Wr 23+ or Wr 22A. "nstructor appro'al re$uired!
W+ /50< "(*+,D-C*",( *, 3,,? 6-3L"%8"()
Gaterud% :&&e!
Pro"ides a detailed o"er"iew of the pu&lishing process% organiFed around
the di"ision of la&or% including introductions to contemporar! :merican
pu&lishing% issues of intellectual commerce% cop!right law% pu&lishing
contracts% &ook editing% &ook design and production% &ook marketing and
hank !ou.
distri&ution% and &ookselling. <ased on work in mock pu&lishing companies%
students prepare portfolios of written documents% i.e.% &ook proposals%
editorial guidelines% design and production standards% and marketing plans.
Guest speakers from the pu&lishing industr! and $eld trips pro"ide
exposure to the industr!.
W+ /51< 3,,? ED"*"()
*enningsgaard% Per
Pro"ides a comprehensi"e course in professional &ook editing% including
editorial management% ac6uisitions editing% su&stanti"e/de"elopmental
editing% and cop!editing. @ssues speci$c to &oth $ction and non$ction &ooks
will &e co"ered.
W+ /52< 3,,? DE%")( 0(D 6+,D-C*",(
Gaterud% :&&e!
'omprehensi"e course in professional &ook design and production. @ssues
speci$c to the design of $ction and non$ction &ooks in a "ariet! of genres
and markets will &e co"ered% including the applications of &oth old and new
technologies in design and production.
W+ /B0< "(*ELLEC*-0L 6+,6E+*7 0(D C,67+")8*
'lark% 9ichael
clarkm4pdx.edu
)utlines the opportunities and pitfalls faced &! the writer =or editor% graphic
designer% or artist? in the legal and ethical spheres. 'op!right law% B.5. #irst
:mendment law% defamation% right of pri"ac!% trademark% and trade secret
law. Will discuss the importance of the @nternet in rethinking man!
cop!right and intellectual propert! rules.
W+ /B1< 6-3L"%8"() %,.*W0+E
(odd% Lelle!
kelle!.dodd4ooliganpress.pdx.edu
Pro"ides a strong &ase in the software used in the &ook pu&lishing industr!%
focusing on :do&e @n(esign. :lso explores :do&e Photoshop% @llustrator% and
:cro&at% as well as \*9; and e0&ook design. he class considers audience
expectations through a range of hands0on design pro7ects.
hank !ou.
W+ /B:< DE9EL,61E(*0L ED"*"()
5tore!% 9eg
mstore!4pdx.edu
Explores the relationship &etween an editor% a writer% and the work in the
process of de"elopmental editingRalso known as glo&al% su&stanti"e% or
comprehensi"e editing. Examines historicall! signi$cant editor/author
relations% how the editorial process and relationships ha"e changed o"er
time% and how editorial expectations shift &ased on the expectations of the
pu&lisher% the constantl! changing glo&al marketplace% and the introduction
of new technologies.
W+ /B4< 6-3L"%8"() %*-D",
Gaterud% :&&e!
Wr /C+ or Wr /CC.
W+ /B/< 6-3L"%8"() L03
Gaterud% :&&e!
Wr /C+ or Wr /CC.
W+ /BF< 6-3L"C0*",(% 10(0)E1E(*
Lenshole% #iona
;earn a&out the traditional &usiness model of &ook pu&lishing and how that
model is changing. 5tud! pro$t and loss% in"entor!% negotiation% and other
hank !ou.
topics fundamental to running a pu&lishing house. 'o"ers &oth theor! and
real0world applications.
hank !ou.

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Winter 14 English Courses

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English Course Descriptions-Winter 2014

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