Page 115 of Boston College 2006-2007 University Catalog by Boston College University

sion of American experimentation and collaboration in the arts in the 1960s. We will explore the role of chance, collage aesthetic, spectatorship, sexuality and gender, and more. Robin Lydenberg EN 562 Seminar: Rakes, Harlots, and Gin Alley: Visual Eighteenth Century (Fall: 3) In this class, we will look at the tumultuous world of eighteenthcentury London through the eyes of William Hogarth, one of Britains most famous and influential artists. From Londons darkest corners to the sheltered grandeur of its aristocratic homes, Hogarths work will lead us toward some of the most pressing questions of a newly emerged modernity and give us new perspectives on the written and performed works of his contemporaries. Amy Witherbee EN 563 Gothic and Romantic Novel (Fall: 3) Fulfills the pre-1900 requirement. The late eighteenth and early nineteenth centuries saw remarkable developments in the novel form, including the emergence of the Gothic, the historical novel, womens domestic fiction, the psychological novel, and the ideological (propaganda) novel. Although best known for the achievements of Jane Austen and Walter Scott, the period also produced a number of strange and brilliant works that far too many readers miss out on. Concentrating on works by Walpole, Lewis, Godwin, Wollstonecraft, Hogg, Edgeworth, Scott, Austen, Shelley, and Emily Bronte, we will consider the novel from historical, ideological, feminist, and psychological perspectives. Alan Richardson EN 571 Advanced Creative Nonfiction: Writing About Place (Spring: 3) Through the reading and writing of creative non-fiction essays, we will use place as a lens through which to explore questions of home and exile, ideology and belief, and the human relationship to both natural and peopled worlds. Readings will include work by Annie Dillard, E.B. White, Joy Williams, Jamaica Kinciad, Andre Aciman, Wendell Berry, and others. Elizabeth Graver EN 577 Writing Workshop: Poetry (Fall/Spring: 3) A course in writing poetry in a variety of forms, with an emphasis on craft and revision. Students will produce roughly one poem a week and will workshop each others drafts in group discussion. Elizabeth Kirschner Andrew Sofer EN 579 Writing Workshop: Fiction (Fall/Spring: 3) Enrollment limited to 15. This course provides encouragement, practice, and criticism for students seriously interested in writing short fiction. The workshop format demands self-motivation and universal participation. Since students stories are texts for class discussion, a generous willingness to respond to others writing and to expose ones own work to such reactions is an essential prerequisite. Individual conferences with the instructor supplement the workshop discussions. Students are expected to produce a steady stream of new and revised fiction throughout the semester. Narrative preferences from the traditional to the experimental are welcome. Steven Almond Suzanne Matson Sophie Powell EN 588 Business Writing (Fall/Spring: 3) This course is designed to expose students to the type of writing done on the job. It is a practical course where real-life examples are used to illustrate appropriate writing strategies, style, language and formats commonly found in a business setting. By the end of the semester, students will be proficient in producing business correspondence, instructions, reports, proposals, resumes and presentation materials. Rita Owens EN 597 Advanced Creative Nonfiction: Writing for Social Change (Spring: 3) Can writing make the world a more just place? If so, how? In this intensive workshop, we will explore creative nonfiction writing that could be described as advocacy journalism work that seeks to reach readers heads and hearts while exploring an issue of social importance. We will read a wide range of activist and advocacy writing from environmental writing, anti-war tracts, and homeless-advocacy writing to explore the possibilities and limitations of this genre. Students will develop their own advocacybased writing projects, based on a cause you already care about or an issue you learn about and explore during the course. Paula Mathieu EN 598 Advanced Nonfiction Workshop: Considering Suffering. (Fall: 3) This course will consider creative nonfiction as a vehicle for both public grief and private heartache. We will look at several authors for strategy, asking such questions as through what lens is this suffering viewed, at what distance, and to what purpose. We will also consider the role of joy and hope as they foreground, contextualize and frame such suffering. Readings may include Lawrence Weschlers Vermeer in Bosnia, Maus, Sebalds Emigrants, essays from John Bergers On Looking, Anne Carsons essays on pilgrimage, and Fanny Howes Bewilderment. Kim Garcia EN 599 Undergraduate Reading and Research (Fall/Spring: 3) EN 600 Honors Thesis (Spring: 3) The Department EN 601 Internship (Fall: 1) Treseanne Ainsworth EN 603 Seminar in College Teaching: Womens Studies (Fall/Spring: 3) Cross Listed with HS 665 Fulfills the Women Writers requirement for EN/LSOE majors. See course description in the History Department. Department EN 615 Advanced Fiction Workshop (Spring: 3) Prerequisite: Permission of instructor This course provides encouragement, practice, and criticism for students who have demonstrated accomplishment in writing fiction. Students are expected to produce a steady stream of fiction throughout the semester and to revise their work deeply and extensively. The workshop format demands self-motivation and universal participation. Since students stories are texts for class discussion, a generous willingness to respond to others writing and to expose ones own work to such reactions is essential. Individual conferences with the instructor and readings of published texts will supplement our workshop discussions. Elizabeth Graver ARTS AND SCIENCES The Boston College Catalog 2006-2007 115

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