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AP English Literature and Composition: Study Guide
AP English Literature and Composition: Study Guide AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse, this product. Key Exam Details While there is some degree of latitude for how your specific exam will be arranged, every AP English Literature and Composition exam will include three sections: • Short Fiction (45–50% of the total) • Poetry (35–45% of the total) • Long Fiction or Drama (15–20% of the total) The AP examination will take 3 hours: 1 hour for the multiple-choice section and 2 hours for the free response section, divided into three 40-minute sections. There are 55 multiple choice questions, which will count for 45% of your grade. The Free Response writing component, which will count for 55% of your grade, will require you to write essays on poetry, prose fiction, and literary argument. The Free Response (or “Essay” component) will take 2 hours, divided into the three sections of 40 minutes per section. The course skills tested on your exam will require an assessment and explanation of the following: • The function of character: 15–20 % of the questions • The psychological condition of the narrator or speaker: 20–25% • The design of the plot or narrative structure: 15–20% • The employment of a distinctive language, as it affects imagery, symbols, and other linguistic signatures: 10–15% • And encompassing all of these skills, an ability to draw a comparison between works, authors and genres: 10–15 % The free response portion of the exam will test all these skills, while asking for a thesis statement supported by an argument that is substantiated by evidence and a logical arrangement of the salient points. -
The Fourth Genre: Creative Nonfiction Joseph Harris Professor of English
The Fourth Genre: Creative Nonfiction Joseph Harris Professor of English Students often read varied and interesting texts in school: stories, poems, plays, speeches, histories, memoirs, accounts of explorations and discoveries, lives of famous people. But what they write tends to be much more limited—usually just paragraphs or brief essays summarizing or analyzing what they’ve read. As a result students often come to see school writing as dull and formulaic, unconnected to what they actually care about. (Or at least this is what many of the freshmen in my college writing classes tell me.) Even those occasional moments when students are asked to compose a story or poem can sometimes seem only to underline the distinction between the fun of creative writing and the routine of most school work. In this seminar we will try to break down the opposition between creative and school writing by looking at what is sometimes called the “fourth genre” of literature. Creative nonfiction is writing about facts—about real people, things, and events. But it is also writing that aims to be as engaging as fiction. The voice of the writer is key. We read a piece of creative nonfiction not only for what it tells us about its subject but also for what we can learn about its author. We’ll approach our study of creative nonfiction in two ways. First, we’ll read and discuss some of the best nonfiction writers at work today—authors like Joyce Carol Oates, Roxanne Gay, Oliver Sacks, Atul Gawande, Ta Nehisi Coates, and Naomi Wolf. -
Creative Nonfiction
WRITING CREATIVE NON-FICTION THEODORE A. REES CHENEY CREATIVE NONFICTION Creative nonfiction tells a story using facts, but uses many of the techniques of fiction for its compelling qualities and emotional vibrancy. Creative nonfiction doesn’t just report facts, it delivers facts in ways that move the reader toward a deeper understanding of a topic. Creative nonfiction requires the skills of the storyteller and the research ability of the conscientious reporter. Writers of creative nonfiction must become instant authorities on the subject of their articles or books. They must not only understand the facts and report them using quotes by authorities, they must also see beyond them to discover their underlying meaning, and they must dramatize that meaning in an interesting, evocative, informative way—just as a good teacher does. When you write nonfiction, you are, in effect, teaching the reader. Research into how we learn shows that we learn best when we are simultaneously entertained—when there is pleasure in the learning. Other research shows that our most lasting memories are those wrapped in emotional overtones. Creative nonfiction writers inform their readers by making the reading experience vivid, emotionally compelling, and enjoyable while sticking to the facts. TELLING THE “WHOLE TRUTH” Emotions inform our understanding all the time. So, to tell the whole truth about most situations that involve people (and most situations do), in the words of Tom Wolfe, we need to “excite the reader both intellectually and emotionally.” The best nonfiction writers do not tell us how we should think about something, how we should feel about it, nor what emotions should be aroused. -
Poetry That Expresses Thoughts and Emotions of a Single Speaker
Type of writing done in verse form that Poetry uses figures of speech designed to appeal to emotions and imagination Poetry that expresses Lyric Poetry thoughts and emotions of a single speaker Poetry that tells a story Narrative Poetry Form and Structure Poem that is song-like; usually focuses Ballad on topics such as romance, adventure, and death; and tells a story Sonnet 14 line lyric poem A mourning poem; written for Elegy someone who has died Lyric poem on a serious subject; usually Ode addressed to one person or thing; often celebrates something a repeated sound, word, Refrain phrase, line, or group of lines Japanese 3 lined poem with 5 Haiku syllables in lines 1 and 3 and 7 syllables in line 2 Couplet two consecutive lines of poetry that rhyme Triplets Three lined stanza Quatrains 4 line stanzas poetry that doesn’t have a set Free Verse rhyme scheme or meter A very long narrative poem that tells of Epic the life and journeys of a hero A group of consecutive lines in a Stanza poem that forms a single unit; like paragraphs Figurative Language comparison between two unlike Simile things, using a word such as like, as, than, or resembles comparison between two unlike things that does not use a Metaphor connecting word a group of words not meant to Idiom be taken literally overstating something, usually Hyperbole for the purpose of creating a comic effect giving human characteristics to Personification an object or an animal contradictory elements (two Oxymoron things that do not belong together) use of language that appeals to Imagery -
The Verse Dramas of TS Eliot
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1959 Search for form| the verse dramas of T. S. Eliot Carol Sue Rometch The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Rometch, Carol Sue, "Search for form| the verse dramas of T. S. Eliot" (1959). Graduate Student Theses, Dissertations, & Professional Papers. 3500. https://scholarworks.umt.edu/etd/3500 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE SEARCH FOR FORM; THE VERSE DRAMAS OF T.S. ELIOT by CAROL SUE ROMETCH B.A. Whitman College, 1957 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1959 Approved by; GhfiHrman, Boàrd of Examiners Dean, Graduate School WAY 2 8 1959 Date UMI Number: EP35735 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ütaMitatton PlAMiing UMI EP35735 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
Literary Forms-The Epic
Literary Forms-The Epic Dr.M.K.Praseeda Assistant Professor Department of English(Aided) The Epic • The Epic Defined:- • 1. Long narrative poem heroic personages of history or tradition. • 2. Tale in verse • Epic of Growth and Epic of Art:- • Epic is divided into two classes (1) The Epic of Growth or Authentic Epic or folk Epic. (2) The literary Epic or Epic of Art. • Authentic Epic is not the work of one man. • It is the collection of a series of folk songs and legends. • The literary Epic is the work of one individual genius • The old English epic “Beowulf”, Homer’s ‘Iliad’ is odyssey are Authentic Epics. • Vergil’s “Aeneid” and Milton’s paradise Lost” Literary Epic. Qualities of an epic:- • High seriousness. • Comprehensiveness. • Characterized by greatness of scope and majesty. • There is room four very great variety. • The action of epic is spacious. • Inclusiveness is another characteristic of an epic. • The characters are gods to ordinary mortals. • Its scenic background changes frequently. • Its takes long time. • The events therein range from the earth. • Choric aspect is a characteristic of an epic, which is mentioned by profession Tillyard. • Epic must express the spirit of an age or nation and not merely the feelings and experiences of individuals. • Homes expresses the admiration of the people of his time for the heroic qualities. • An epic poet has the consciousness of being a prophet of his time. The Convention in the Epic:- • (a) The theme of the Epic, is stated in the first few lines • The prayer and the ‘innovation’. • (b) Introduction of smilies in the Homeric manner. -
Virginian Writers Fugitive Verse
VIRGIN IAN WRITERS OF FUGITIVE VERSE VIRGINIAN WRITERS FUGITIVE VERSE we with ARMISTEAD C. GORDON, JR., M. A., PH. D, Assistant Proiesso-r of English Literature. University of Virginia I“ .‘ '. , - IV ' . \ ,- w \ . e. < ~\ ,' ’/I , . xx \ ‘1 ‘ 5:" /« .t {my | ; NC“ ‘.- ‘ '\ ’ 1 I Nor, \‘ /" . -. \\ ' ~. I -. Gil-T 'J 1’: II. D' VI. Doctor: .. _ ‘i 8 » $9793 Copyrighted 1923 by JAMES '1‘. WHITE & C0. :To MY FATHER ARMISTEAD CHURCHILL GORDON, A VIRGINIAN WRITER OF FUGITIVE VERSE. ACKNOWLEDGMENTS. The thanks of the author are due to the following publishers, editors, and individuals for their kind permission to reprint the following selections for which they hold copyright: To Dodd, Mead and Company for “Hold Me Not False” by Katherine Pearson Woods. To The Neale Publishing Company for “1861-1865” by W. Cabell Bruce. To The Times-Dispatch Publishing Company for “The Land of Heart‘s Desire” by Thomas Lomax Hunter. To The Curtis Publishing Company for “The Lane” by Thomas Lomax Hunter (published in The Saturday Eve- ning Post, and copyrighted, 1923, by the Curtis Publishing 00.). To the Johnson Publishing Company for “Desolate” by Fanny Murdaugh Downing (cited from F. V. N. Painter’s Poets of Virginia). To Harper & Brothers for “A Mood” and “A Reed Call” by Charles Washington Coleman. To The Independent for “Life’s Silent Third”: by Charles Washington Coleman. To the Boston Evening Transcript for “Sister Mary Veronica” by Nancy Byrd Turner. To The Century for “Leaves from the Anthology” by Lewis Parke Chamberlayne and “Over the Sea Lies Spain” by Charles Washington Coleman. To Henry Holt and Company for “Mary‘s Dream” by John Lowe and “To Pocahontas” by John Rolfe. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
Books and Coffee Past Presenters
Books and Coffee Past Presenters Year Speaker Author Title 1951 William Braswell Hemingway Across the River and Into the Trees Chester Eisinger Miller Death of a Salesman Paul Fatout -- “Mark Twain” Robert Lowe Pound Letters Barriss Mills Faulkner Collected Stories Herbert Muller Niebuhr Faith in History Albert Rolfs Fatout Ambrose Bierce Louise Rorabacher Orwell Animal Farm Emerson Sutcliffe Kent Declensions in the Air 1952 Welsey Carroll Boswell London Journal Richard Voorhees Greene The Power and the Glory Richard Cordell Irvine The Universe of George Bernard Shaw Harold Watts Mann The Holy Sinner Roy Curtis Hall Leave Your Language Alone! Richard Greene Altick The Scholar Adventurers R. W. Babcock -- “On Reading Shakespeare” Richard Crowder Williams Later Collected Poems 1953 Herbert Muller Ceram Gods, Graves, and Scholars William Hastings Wouk The Cain Mutiny J. H. McKee Ferril I Hate Thursday Arthur Koenig Dostoievsky The Diary of a Writer George Schick Boswell Boswell in Holland Darrel Abel Steinbeck East of Eden H. B. Knoll Walton The Compleat Angler Raymond Himelick Cabell Quiet Please 1954 Paul Fatout Boswell Boswell on the Grand Tour George S. Wykoff Bonavia-Hunt Pemberley Shades Lewis Freed Eliot The Cocktail Party R. M. Bertram Cary The Horse's Mouth Laird Bell Smith Man and His Gods Bernard Schmidt Michener The Bridges at Toki-Ri Victor Gibbens Randolf & Wilson Down in the Holler William Braswell Thurber Thurber Country 1955 Richard Cordell Larson An American in Europe Arnold Drew Jarrell Pictures from an Institution Russell Cosper Kafka The Castle M. W. Tillson Ives Tales of America Maurice Beebe Faulkner A Fable Walter Maneikis Algren The Man with the Golden Arm Virgil Lokke West The Day of the Locusts Robert Ogle White The Second Tree from the Corner 1956 Lewis Freed Alberto Moravia A Ghost at Noon R.W. -
Read Ebook {PDF EPUB} Rabbit Run by John Updike Rabbit Run by John Updike
Read Ebook {PDF EPUB} Rabbit Run by John Updike Rabbit Run by John Updike. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6588763ffc5c0d52 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Rabbit Run by John Updike. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65887640090515f4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.