DOCSLIB.ORG

Ii Table of Contents GENERAL INTRODUCTION to THE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ii Table of Contents GENERAL INTRODUCTION to THE Table of Contents GENERAL INTRODUCTION TO THE PROGRAM 1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8 2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22 HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS 3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23 4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26 5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27 6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29 7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35 7.5 The Culminating Experience………………………………………..36-38 7.6 Overview of Student Quality Indicators…………………………….38-43 ii 8.0 THE PROGRAM AND THE COMMUNITY 8.1 Professional Engagement of Students and Alumni…………………43-44 8.2 Civic Engagement…………………………………………………..44 8.3 Equity and Social Justice……………………………………………44-45 8.4 Internationalization………………………………………………….45-46 9.0 THE FACULTY EXPERIENCE 9.1 Faculty Statistics…………………………………………………….46-51 9.2 Research and Professional Engagement of Faculty………………....51 9.3 Supervision of Culminating Experiences…………………………...51-52 9.4 Discipline-Specific Standards for Teaching Graduate Courses……..52 9.5 Interdisciplinarity…………………………………………………...52-53 9.6 Overview of Faculty Quality Indicators…………………………….53-56 10.0 RESOURCE SUPPORT FOR THE PROGRAM 10.1 Internal Support……………………………………………………56-58 10.2 External Support ……………………………………………...…...58 iii CREATIVE WRITING DEPARTMENT MASTER OF ARTS AND MASTER OF FINE ARTS 1.0 EXECUTIVE SUMMARY: 1.1 BRIEF HISTORY OF THE PROGRAM In the Bay Area, the second largest center for writing in the country, aspiring poets, novelists, playwrights and nonfiction writers converge and provide a rich pool of applicants to the Creative Writing Department in addition to those who join the program from other regions and sometimes countries. As one of the largest and most popular creative writing in the country1, our program attracts those who wish to explore their interest in the four genres we offer. Both the M.A. and M.F.A. programs are notable for their rigor and innovation. We plan our curriculum to reflect our commitment to variety in writing and different preferences for modes of learning in students who in all cases have a choice of styles, subjects, and approaches. This flexibility responds to the distinctly different backgrounds and interests of our students and also recognizes the complexity and breadth of contemporary writing. Our philosophic approach to teaching creative writing is therefore always evolving and eclectic in the best sense of the word. A great many of our students go on to publish imaginative work of distinction. Others who continue to write move into positions of leadership in publishing firms, foundations, and arts organizations as well. Many follow teaching careers, some with tenure-track positions soon upon graduating and many others populating the adjunct positions in our own college, at other universities and at community colleges, many of which locally are staffed with graduates of our program. Since its inception as a specialty in the English Department and since its independent role as a department since 1969, the program continues to attract excellent students, particularly in the most practiced genre, fiction, and many more students than it can serve. Ours is among the nation’s largest graduate writing programs with our reasonable tuition and fees and tremendous opportunities in the Bay Area, allowing many students who cannot conceive of an “iffy” fine arts degree to follow their talents and their hopes here. Though the university has little support by the way of scholarships for our students and the department only some small and large awards for students already here, students make sacrifices to complete their degrees, and the department recognizes the priorities of their busy lives which often include work and family with once a week classes at three times of day that meet most students’ needs. Our faculty as well comes from diverse backgrounds, cultures, classes, and styles of writing. Whether or not it were necessary for tenure, all of our faculty are writers who would continue to publish no matter the university requirements Those who “try out” for our positions (all t.t. applicants must teach a 2-hour workshop) note the extremely fine level of writing and confidence in our students. To take a group of disparate students and merge them harmoniously into classes which provide instruction and mutual support for 1 We average between 200 and 500 applicants a year. Many programs have 5-20 graduate students, ours: 40 in the MA and 100 in the MFA. 1 the group is a rare talent, but our well-selected faculty have the means necessary to achieve this reality in almost all cases. As writers with a need for feedback and support of peers and an audience as they complete their culminating experiences—books of poems, plays, novels, short story collections and creative non-fiction collections--some students choose to linger. They form close bonds with the faculty and one another that do not end with their engagement here. Many continue to meet in small groups to support each other’s work well after they leave, and through our newsletter we stay in touch with them—before our newsletter moved to an online format, its active mailing list contained 490 names. The Poetry Center, which has sponsored 157 events in the last five years, and American Poetry Archives, about to celebrate its 60th anniversary, is housed in our program. Its vital legacy and ongoing commitment to present the world’s finest writers is one of San Francisco State’s finest achievements. As a source available to all people with computer access through the DIVA system, it shares its riches daily with video and audiotapes of poets since 1950. The site counts visitors and has had 66,561 “listens” and 7,015 downloads in its first 25 months. Funded by the university as well as the NEA, the California Arts Council, the Hotel and Restaurant Tax Fund, the Creative Work Fund and private donations, it continues to be a respected and much appreciated member of the writing world. In addition, our three literary magazines, Transfer (which was the first publisher of Ernest Gaines Jr. (1957), and Anne Rice (1971) when they were SFSU students), 14 Hills, and New American Writing, the former two student-run, provide the world with a glimpse of our culture and a chance for our students to mingle with national and international writers of note. With over 250 graduate writing programs in the country (www.awpwriter.org), judging from the continued success of our graduates tracked by our program newsletter and available also through news media that cover the arts, our program continues to be one of the most vital and successful writing programs in the country.2 1.2 Brief Synopsis of the Previous Program Review Recommendations Our last MOU dated 11/16/04 cited our program’s support of students’ chosen creative genres, our students’ frequent production of “imaginative works of distinction” and our department’s ability, through offshoots such as the Poetry Center, to “create an essential community link.” It went one to praise the “diverse faculty’s award-winning publications that earn the respect of the students,” accomplishments that existed at that point “despite [our] heavy teaching and advising load.” Though our teaching load has improved, going from 4/4 to 3/3/, faculty on average still direct 6 or more theses a year, some voluminous novels, and advise the 140 graduate students in addition to the 394 undergrads that populate our major. 2 Poets and Writers produces a yearly ranking of MFA programs which disqualifies our MFA from the first quartile because of its lack of full funding for students. However, this somewhat unscientific list has us in the next quartile of programs for the past two years. Still, much of what one hears about a program’s reputation is anecdotal. Suffice it to say, the quality of the students who apply and how they fare once admitted and post-graduation make the case for the strong reputation of our MFA. 2 1.2a Curriculum It was recommended in the last report that we add a capstone class, which we have done. Creative Writing 601 launches graduating seniors into their post-SF State careers as writers with a focus on writing for the future and completion of a portfolio of writing they may use for graduate school applications and job interviews. It was recommended that we add a course on the Business of Creative Writing, which introduces both undergraduate and graduate students to the agents, publishers, editors, playhouse directors and writers at every stage of development that will enhance their understanding of the field. This course, CW 506/806 is offered every fall and enrolls 50- 75 students.
Load more

Recommended publications
  • RADICAL ARCHIVES Presented by the Asian/Pacific/American Institute at NYU Curated by Mariam Ghani and Chitra Ganesh
    a/p/a RADICAL ARCHIVES presented by the Asian/Pacific/American Institute at NYU curated by Mariam Ghani and Chitra Ganesh Friday, April 11 – Saturday, April 12, 2014 radicalarchives.net Co-sponsored by Asia Art Archive, Hemispheric Institute, NYU History Department, NYU Moving Image Archive Program, and NYU Archives and Public History Program. Access the Internet with NYU WiFi SSID nyuguest login guest2 password erspasta RADICAL ARCHIVES is a two-day conference organized around the notion of archiving as a radical practice, including: archives of radical politics and practices; archives that are radical in form or function; moments or contexts in which archiving in itself becomes a radical act; and considerations of how archives can be active in the present, as well as documents of the past and scripts for the future. The conference is organized around four threads of radical archival practice: Archive and Affect, or the embodied archive; Archiving Around Absence, or reading for the shadows; Archives and Ethics, or stealing from and for archives; and Archive as Constellation, or archive as method, medium, and interface. Advisory Committee Diana Taylor John Kuo Wei Tchen Peter Wosh Performances curated Helaine Gawlica (Hemispheric Institute) with assistance from Marlène Ramírez-Cancio (Hemispheric Institute) RADICAL ARCHIVES SITE MAP Friday, April 11 – Saturday, April 12 KEY 1 NYU Cantor Film Center 36 E. 8th St Restaurants Coffee & Tea 2 Asian/Pacific/American Institute at NYU 8 Washington Mews Cafetasia Cafe Nadery Oren’s 3 NYU Bobst
    [Show full text]
  • FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 Organization
    FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 The plot is thoroughly Plot is adequately The plot is minimally The story lacks a developed Organization: developed. The story is developed. The story has developed. The story plot line. It is missing either a interesting and logically a clear beginning, middle does not have a clear beginning or an end. The organized: there is clear and end. The story is beginning, middle, and relationship between the exposition, rising action and arranged in logical order. end. The sequence of events is often confusing. climax. The story has a clear events is sometimes resolution or surprise confusing and may be ending. hard to follow. 2 The setting is clearly The setting is clearly The setting is identified The setting may be vague or Elements of Story: described through vivid identified with some but not clearly described. hard to identify. Setting sensory language. sensory language. It has minimal sensory language. 3 Major characters are well Major and minor Characters are minimally Main characters are lacking Elements of Story: developed through dialogue, characters are somewhat developed. They are development. They are Characters actions, and thoughts. Main developed through described rather than described rather than characters change or grow dialogue, actions, and established through established. They lack during the story. thoughts. Main dialogue, actions and individuality and do not change characters change or thoughts. They show little throughout the story. grow during the story. growth or change during the story. 4 All dialogue sounds realistic Most dialogue sounds Some dialogue sounds Dialogue may be nonexistent, Elements of Story: and advances the plot.
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • New York University Bulletin
    New York University Bulletin Steinhardt School of Culture, Education and Human Development New York University Washington Square New York, New York 10003 NOTICES About this Bulletin The policies, requirements, course offerings, schedules, activities, tuition, fees, and calendar of the school and its departments and programs set forth in this bulletin are subject to change without notice at any time at the sole discretion of the administration. Such changes may be of any nature, including, but not limited to, the elimination of the school or college, programs, classes, or activities; the relocation of or modification of the content of any of the foregoing; and the cancellation of scheduled classes or other academic activities. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration ‘s rights as set forth herein. Fieldwork Placement Advisory Be advised that fieldwork placement facilities that provide training required for your program degree, and agencies that issue licenses for practice in your field of study, each may require you to undergo general and criminal background checks, the results of which the facility or agency must find accept able before it will allow you to train at its facility or issue you a license. You should inform yourself of offenses or other facts that may prevent you from obtaining a license to practice in your field of study. NYU Steinhardt will not be responsible if you are unable to complete program requirements or cannot obtain a license to practice in your field because of the results of such background checks. Some fieldwork placement facilities in your field of study may not be available to you in some states due to local legal prohibitions.
    [Show full text]
  • Fiction and the Theory of Action
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose E-theses Online Fiction and the Theory of Action A Dissertation Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy Laurence Piercy School of English Literature, Language and Linguistics University of Sheffield May 2014 Abstract This thesis explores four mid-twentieth century fictional texts in relation to concepts of action drawn predominantly from Anglo-American analytic philosophy and contemporary psychology. The novels in question are Anna Kavan’s Ice, Samuel Beckett’s How It Is, Vladimir Nabokov’s Pale Fire and Malcolm Lowry’s Under the Volcano. The theory of action provides concepts, structures, and language to describe how agency is conceptualised at various levels of description. My exploration of these concepts in relation to fiction gives a framework for describing character action and the conceptualisation of agency in my primary texts. The theory of action is almost exclusively concerned with human action in the real world, and I explore the benefits and problems of transferring concepts from these discourses to literary criticism. My approach is focused around close reading, and a primary goal of this thesis is to provide nuanced analyses of my primary texts. In doing so, I emphasise the centrality of concepts of agency in fiction and provide examples of how action theory is applicable to literary criticism. i Table of Contents Abstract i Table of Contents ii Introduction 1 Chapter One
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Brazen (Spring 2011) Hollins University
    Hollins University Hollins Digital Commons Brazen - Gender & Women's Studies Department Gender & Women’s Studies Newsletters Spring 2011 Brazen (Spring 2011) Hollins University Follow this and additional works at: https://digitalcommons.hollins.edu/brazen Part of the Gender and Sexuality Commons, and the Women's Studies Commons Recommended Citation Brazen: Newsletter of the Gender & Women's Studes Department. Roanoke, Virginia, Hollins University. Spring 2011. This Newsletter is brought to you for free and open access by the Gender & Women’s Studies at Hollins Digital Commons. It has been accepted for inclusion in Brazen - Gender & Women's Studies Department Newsletters by an authorized administrator of Hollins Digital Commons. For more information, please contact [email protected], [email protected]. February 21, 2011 Volume IV, Issue 2 bra.zen Contemporary Metaphorical Representations of Arab Femininity by Emily Campbell, ‘12 Note: The following poems were inspired by and informed by various writings and artwork created by contemporary Arab women. Excès du Oiseau Fruit Unafraid femininity, and more- Fall, take the bruises but You can be shapeless, over, I found that these keep them beneath your can flow with the cur- pieces were in dialogue skin—be modest, hued rent, can hide behind with one another Inside this issue: in black and white things less dangerous regarding the same thematic conflicts; these rather than the blues than yourself—things Starting Smart at 2 I identify as and greens of peacocks. which would map you, Hollins Clean yourself, sweep confine you—but you confinement versus the soil from your cage; are a pomegranate, a movement, suppression On Being a Dance Artist 3 you cannot grow any- thing of flesh and color versus subversion, and thing in there (and what and wetness.
    [Show full text]
  • Damien Rivera ([email protected]) Transaction: 22572 Dragon Companion Handbook
    Damien Rivera ([email protected]) Transaction: 22572 Dragon Companion Handbook Author: Alexander Augunas Cover Design: Alexander Augunas Cover Art: Jacob Blackmon Interior Art: Jacob Blackmon DESIGNATION OF PRODUCT IDENTITY All company names, logos, and artwork, images, graphics, illustrations, trade dress, and graphic design elements and proper names are designated as Product Identity. Any rules, mechanics, illustrations, or other items previously designat- ed as Open Game Content elsewhere or which are in the public domain are not included in this declaration DECLARATION OF OPEN GAME CONTENT All content not designated as Product Identity is declared Open Game Content as described in Section 1(d) of the Open Game License Version 1.0a. Compatibility with the PATHFINDER ROLEPLAYING GAME requires the PATHFINDER ROLEPLAY- ING GAME from Paizo Inc.. See http://paizo.com/pathfinderRPG for more information on the Pathfinder Roleplaying Game. Paizo Inc. does not guarantee compatibility, and does not endorse this product. Pathfinder is a registered trademark of Paizo Inc., and the PATHFINDER ROLEPLAYING GAME and the Pathfinder Roleplaying Game Compatibility Logo are trademarks of Paizo Inc., and are used under the Pathfinder Roleplaying Game Compat- ibility License. See http://paizo.com/pathfinderRPG/compatibility for more information on the compatibility license. Draconic Companion Handbook © 2014 by Everyman Gaming, LLC. About the Author Alexander Augunas has been a freelance writer for various PATHFINDER ROLEPLAYING GAME compatible products since 2012. Alex is best known as the writer of Know Direction’s tri-weekly blog, Guidance, as well as the PACT MAGIC UNBOUND series by Radiance House. In addition to writing for Everyman Gaming, LLC, Know Direction, and Radance House, Alex has worked with companies such as Raging Swan Press, Loius Porter Jr.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • The Write News
    F The Write News BRANCH MEETING AND LUNCHEON February 10, 2018 - 11:00 am to 2:00 pm Finding Your Most Powerful Words featuring Clive Matson What I Learned from the Beat Generation (And What I Wish We Hadn’t Learned) Clive will cover: First thought, best thought Writing as an expression of the body Suspicion of boundaries Honesty and impulse Sacraments and direct experience Vitality of Myths “I bring forty years of experience leading workshops and coaching writers of all kinds. Little by little I've seen that my original training was sound, provocative, and instructive, so I'll quote Pound, Williams, R.Creeley, Ginsberg and show how their dictums apply to today's writing. The guidance is crucially important now that we're entering a time similar to the 1960s when we are at odds with our government, the Sixth Extinction looms globally, and politically we're in decades similar to what Chaucer called "this sour and hungry time." Clive Matson (MFA Columbia University 1989) hung out in New York in the early 1960s with Beat Generation writers and that immersed him in streams of passionate intensity that run through us all. He writes from the itch in his body to the delight of his students according to Let the Crazy Child Write! (1998). He’s published nine volumes of poetry and his seventh book, Squish Boots (2002), was placed in John Wieners’ coffin. He received the PEN Oakland Josephine Miles National Literary Award in 2003 and the City of Berkeley Lifetime Achievement Award in Poetry in 2012.
    [Show full text]
  • Curriculum Vitae
    November 2019 HENRY MICHAEL WEINFIELD Curriculum Vitae Program of Liberal Studies 689 Fort Washington Avenue 215 O’Shaughnessy Hall New York, NY 10040 (574) 631-7172 (917) 608-0869 379 Decio Hall University of Notre Dame (574) 631-7483 [email protected] EDUCATION Ph.D. in English, City University of New York Graduate Center, 1985 M.A. in English, State University of New York at Binghamton, 1973 B.A. in English and Philosophy, City College of New York, 1970 DISSERTATION “The Poet without a Name: Gray’s Elegy and the Problem of History” Directors: Allen Mandelbaum (English, CUNY Graduate Center) Frank Brady (English, CUNY Graduate Center) PROFESSIONAL POSITIONS Professor Emeritus, Program of Liberal Studies; Concurrent Professor Emeritus, Department of English, 2019. Professor, Program of Liberal Studies; Concurrent Professor, Department of English, 2004- Chair, Program of Liberal Studies, University of Notre Dame, 2004-2007 Professor, Program of Liberal Studies, 2003- 1-HW Associate Professor, Program of Liberal Studies, 1996-2003 Assistant Professor, Program of Liberal Studies, University of Notre Dame, 1991-1996 Special Lecturer, Humanities Department, New Jersey Institute of Technology, 1984-1991 Adjunct Lecturer, English, City College of New York; Baruch College; Lehman College; 1974-1984 Visiting Lecturer, English, State University of New York at Binghamton, 1973-74 RECENT GRANTS AND HONORS Rev. Edmund P. Joyce, C.S.C. Award for Excellence in Undergraduate Teaching, University of Notre Dame, 2018 National Endowment for the Arts Fellowship Award to complete a translation of the selected sonnets and other poems of Pierre de Ronsard, for FY 2018/2019 I was commissioned to write a poem pertaining to Milton or his works by the Milton Society of America, and to recite a portion of it at the society’s annual dinner on Jan.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]