uc davis creative writing courses

Creative writing programs nurturing minds, books

by Clifton B. Parker
February 01, 2008

One of the bright new lights of UC Davis is its creative writing program. Student alums, at both the undergraduate and graduate levels, are making the prime-time in books and screenwriting, and more. Consider these graduates:

Anthony Swofford earned critical acclaim for Jarhead, his Marine Corps memoir, and then followed that work up with his first novel, Exit A. Shauna Ryan received the Maurice Prize for Fiction last year for her first novel, Locke 1928. Chris Markus and Steve McFeely collaborated on the Emmy-winning television screenplay The Life and Death of Peter Sellers, and were also on the scriptwriting team of the Hollywood film, The Chronicles of Narnia: The Lion, The Witch and the Wardrobe.

What is the secret behind their success? Is it something in the arboretum water?

It all starts with attracting talented faculty, said Pam Houston, author, English professor and director of the master's program in creative writing.

"What we have are active, engaged, top-notch faculty," Houston said. "And because of that, we attract good students. This is a particularly strong moment for us as far as faculty. The faculty is innovative, interesting and really engaged with the students."

Houston, a faculty member at UC Davis since 1999, became the director of the program in 2001. Today, the university offers a master's degree in English with an emphasis on either fiction or poetry; the classes are led by the nine creative writing faculty members. It is highly competitive — up to 15 students for each year of the two-year program are chosen from a pool of 70 to 100 applicants.

Poetry on rise

Houston said students are generally more interested in fiction writing than poetry, but that some recent faculty hires have inspired interest in the latter.

"Joshua Clover and Joe Wenderoth are attracting more poetry students," Houston saisd about the two faculty poets.

Monica Storss, a second-year graduate student, noted faculty talent as among her top reasons for applying.

"Pam Houston was a big draw for me," said Storss. "I really appreciate her earlier books, like Cowboys Are My Weakness. She had an impact on me as a young female writer."

"And, the poet Sandra McPherson is a legend," she said.

Storss, coordinator for the Graduate Student Reading Series and editor for the Greenbelt Review, an online creative writing showcase for graduate students, said the program staff seem genuinely interested in helping the students. For example, they seek out teaching opportunities for students in the program. Storss said, "They want to make sure you're taken care of."

However, while the caliber of faculty has improved in recent years, Houston said, that is not the only reason the creative writing program is booming.

There is something else — call it communication, call it respect — that seems to connect faculty and students, she said. Maybe it is the UC Davis way of collaboration, of doing things.

"We respect each other's work as a faculty — we're in communication about it. We by and large like one another and the students pick up on that. This is not a contentious program," she said.

As a result, students are not afraid to take risks. And in a writing program, confident students make for good writers who are willing to explore their creativity and push the boundaries.

"We keep this a place of experimentation and safety," explained Houston. " As a result, they form a community. It is positive, but also constructive critically. I think we're definitely one of the best programs in the West."

She sees this in the classroom.

"I have an amazing class right now, the best class I've ever had," she said. "I'm excited about reading every story."

Houston also is the director of the annual Tomales Bay Workshop, an integral part of the learning process for the second-year students. She organized the writing workshop, held in Marshall, Calif., two years ago. Several prestigious authors offer insight on a variety of topics, from fiction writing to nonfiction to poetry. Though by any standards the workshop is young, Houston is pleased with the response from students and people in general.

"It's been extremely successful, sold out. The department's committed to continuing doing it. It's been a lot of fun for me," she said.

Storss attended the 2007 session along with the other second-year students. "It's totally on the rise and the faculty is world-class," she said of the workshop.

Storss worked with poet Cornelius Eady, who she said gave her a perspective on poetry to which she had not yet been exposed.

"Tomales Bay was an excellent opportunity for me to work closely with notable faculty," she said.

Lucy Corin, professor of English and former director of the creative writing program, believes that artistic growth is the key to UC Davis creative writing.

"In other programs, there is a lot of focus on making it big as a writer," said "By and large, the good students get published. In the job market, you have to have published a book."

But at UC Davis, "We do not focus on how to get published or how to market yourself. Some programs are hooking their students up with industry. Here, there is space to grow as an artist," said Corin.

Despite the program's merits, a bone of contention among faculty and administration is that the program offers a master of arts degree instead of a masters of fine arts. Many top writing programs across the country are MFA programs.

"Some students perceive with an MFA they will have a better chance at getting a job, and I think they may be right," Houston said. "Everyone has different feelings about this. Some would like us to change it to an MFA. Many of us would be fine with that, but most of us aren't devoted to it one way or another."

Corin advises against putting too much stock in credential titles. "Don't look at the name of the degree. Look at the faculty, coursework and funding."

Both Corin and Houston both believe that whatever is done — either maintaining the program as it is or changing it to a MFA — must be in the best interest of the students.

"The question we have to ask ourselves is, Are we doing students a service?" said Houston.

Haley Davis is a former Dateline writing intern.

Media Resources

Clifton B. Parker, Dateline, (530) 752-1932, [email protected]

Primary Category

Creative Writing: Fiction

In this informal workshop, you will learn how to write an effective piece of short fiction. Having been introduced to key elements like plot, character, dialogue, setting and so on, you will compose your own short story in three stages, sharing each installment with the group as you go. You will also read and discuss some classic short stories and tackle brief in-class writing exercises. Suggested reading: Ron Carlson Writes a Story , by Ron Carlson, Graywolf Press (paperback).

UC Davis Graduate Studies

Katie Peterson, Associate Professor of English at UC Davis, with creative writing students

UC Davis Creative Writing Program to Begin Offering MFA Degree

by Jeffrey Day, College of Letters and Science
July 09, 2018

The creative writing program, part of the College of Letters and Science’s English department , will offer a Master of Fine Arts degree in creative writing starting in the 2019–2020 academic year.

“Our graduate program in English is ranked among the top 20 in the country by U.S. News and World Report ,” said J.P. Delplanque, Interim Vice Provost of Graduate Education and Dean of Graduate Studies at UC Davis. “Transitioning our creative writing program to an MFA will raise its profile and attract more talented writers from across the country to come to Davis.”

“The most important thing is the MFA is the highest degree in creative writing,” said Katie Peterson , English professor and head of the creative writing program. “But it will also make our community more connected to the larger world of creative writers. You don’t need a degree to be a writer, but you need a community in what is often an isolated art form. The MFA attaches you to that community and also attaches UC Davis to that community.

“We expect to get students who would have applied for the M.A., along with those with more direct creative writing experience,” she said. “It will expand the pool of students who are poised to enter the writing community.”

Along with creative writing, the M.A. program includes literary studies and that will continue under the MFA.

“This mix is unusual and innovative for the MFA,” Peterson said. “It is what some MFA programs are moving towards, but it's still fairly rare. It provides graduates who enter the academic world with the ability to teach a wider range of courses enhancing their career possibilities."

In the M.A. program , students teach undergraduate creative writing classes and MFA students will continue to do that. That teaching experience is also valuable to them in their careers, Peterson added.

The M.A. program has produced many writers who have received widespread notice and publication along with awards. Austin Smith (M.A. ’13) was named Wallace Stegner Fellow in fiction at Stanford University and won a 2018 National Endowment for the Arts fellowship ; Becky Mandelbaum (M.A. ’16), Melinda Moustakis (M.A. ’11) and Kirsten Lunstrum (M.A. ’03) have all won the Flannery O’Connor Award for Short Fiction in recent years; and Jamil Kochai (M.A. ’17) received the 2018 O’Henry Prize for his story “Nights in Logar” and his novel of the same name will be published in January by Penguin

Along with a graduate degree in creative writing, the department offers a doctorate in literature , and bachelor’s degrees with an emphasis in literary theory and criticism and creative writing.

The program will begin accepting applications for admission this fall. For more information about the MFA program and its admission requirements, please email Katie Peterson, Graduate Program Chair and Associate Professor of English at [email protected] or visit the creative writing program website .

About Graduate Studies

Graduate Studies at UC Davis includes 99 dynamic degree programs and a diverse and interactive student body from around the world. Known for our state-of-the-art research facilities, productive laboratories and progressive spirit – UC Davis offers collaborative and interdisciplinary curricula through graduate groups and designated emphasis options, bringing students and faculty of different academic disciplines together to address real-world challenges. UC Davis graduate students and postdoctoral scholars become leaders in their fields: researchers, teachers, politicians, mentors and entrepreneurs. They go on to guide, define and impact change within our global community. For information on Graduate Studies’ current strategic initiatives, visit the Graduate Studies strategic plan page .

Secondary Categories

Department of English

A celebratory reading to hear from each of our Second Year MFA Graduates, and the writing they've been hard at work creating. Register online . Readers: Rowena Chodkowski: Rowena is a founding member of the Beijing-based Spittoon Literary Collective, China's largest multilingual literary collective; her work has been published in local indie publications, including the Shanghai Literary Review.

For more information please contact [email protected] , [email protected] , or [email protected]

Event sponsored by the English Department’s MFA in Creative Writing in collaboration with Shields Library

Three poets in conversation

From left: Jessica Laser, Margaret Ross and Noah Warren

photos of poets Jessica Laser, Margaret Ross and Noah Warren from left to right.

The UC Davis Creative Writing Program in the Department of English will present online readings March 2 and 3 — one by a star of the literary world, and another by three UC Davis alumni with newly published books. In April, three lyric and narrative poets who create long-form works will take part in a conversation and give readings. All the readings are co-sponsored by the UC Davis Library.

Poets Jessica Laser, Margaret Ross and Noah Warren, whose work makes equal use of music and story, will have an online conversation April 8 at 3 p.m. with poet Katie Peterson, director of the UC Davis Creative Writing Program, and a Q&A session with audience members. The three will give a reading at 4:30 p.m.

Laser has written two books of poems, Sergei Kuzmich from All Sides and “ Planet Drill,” being published this year. Her work has recently appeared online at the Poetry Foundation, in the Bennington Review, and in Aurochs. A graduate of the Iowa Writers' Workshop, she is a doctoral candidate in English at UC Berkeley.

Ross is the author of A Timeshare and her poems have recently appeared in The New Republic, The Paris Review , Poem-a-Day and The Yale Review . A former Stegner Fellow at Stanford University, she is a Harper Schmidt Fellow at the University of Chicago.

Warren’s “The Complete Stories” will be published in May, and his The Destroyer in the Glass was chosen for the Yale Series of Younger Poets. His poems have been published in The Paris Review, POETRY, The American Poetry Review and Ploughshares. He is a doctoral student in English at UC Berkeley.

***Past Events***

Alumni share new novels

From left: megan kaminski, kiik araki-kawaguchi and becky mandelbaum.

Three graduates of the Creative Writing Program will return to campus virtually March 2 at 4:30 p.m. to read from their books published last year.

Megan Kaminski (M.A., English, ’05) is author of three poetry collections, the most recent titled Gentlewomen . An essayist as well as a poet, her writing has been published in the American Poetry Review , The Atlantic and other publications .

Kiik Araki-Kawaguchi (M.A., English, ’11) is author of the novels The Book of Kane and Margaret , published in 2020, and Disintegration Made Plain and Easy . He also is a widely published poet.

Becky Mandelbaum (M.A., English, ’16) won the Flannery O’Connor Award for Short Fiction and the High Plains Book Award for First Book for her story collection Bad Kansas . Her new book is The Bright Side Sanctuary for Animals . Her work has appeared in One Story , The Sun , Prairie Schooner and other publications.

R egister for the alumni readings here.

National Book Award finalist Carmen Maria Machado reads

Carmen Maria Machado is the author of the bestselling memoir In the Dream House and the award-winning short story collection Her Body and Other Parties . In the Dream House traces the arc of a harrowing relationship with a charismatic but volatile woman and Machado’s struggle to make sense of how what happened shaped her. She will read March 3 at 4:30 p.m. Machado is winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award and the National Book Critics Circle's John Leonard Prize. She was a 2017 finalist for the National Book Award.

Creative writing Master of Fine Arts students Anna Tuchin and Brianna Cockett-Mamiya will also read.

The reading is co-sponsored by the Jan Shrem and Maria Manetti Shrem Museum of Art.

R egister for the readings by Carmen Maria Machado and M.F.A. students here.

(Content by Jeffery Day)

Words and More for Creative Writing Series

by Jeffrey A Day
December 18, 2020

Award-Winning Authors, Faculty Readings, Interdisciplinary Student Works on Tap

The UC Davis Creative Writing Series kicks off 2021 with readings by acclaimed visiting writers Jess Arndt and Carmen Maria Machado, a collaboration between music and writing students, and a showcase of new works by faculty members. All events are at 4:30 p.m., free and accessible on Zoom unless otherwise noted.

The Creative Writing Program is part of the English department in the College of Letters and Science.

Jan. 12 — ‘They Live!’ Readings by Creative Writing Program lecturers

photo of four lecturers in the creative writing program Val Brelinski, Rae Gouirand, Greg Glazner and André Naffis-Sahely

Val Brelinski is author of the novel The Girl Who Slept With God . She was a Wallace Stegner Fellow at Stanford University, and her writing has been featured in Vogue, MORE, Salon, VQR and The Rumpus.

Greg Glazner’s books of poetry are Cellar Testament, From the Iron Chair and Singularity . He has won the Walt Whitman Award, the Bess Hokin Prize and a National Endowment for the Arts Fellowship. His writing has appeared in Ploughshares, Poetry, The Colorado Review and Seneca Review.

Rae Gouirand is the author of two collections of poetry, Glass Is Glass Water Is Water and Open Winter , two chapbooks and a short work of nonfiction entitled The History of Art . She is recipient of a 2021 residency in nonfiction from the Helene Wurlitzer Foundation.

André Naffis-Sahely is author of The Promised Land: Poems from Itinerant Life and has written for Harper's Magazine, Times Literary Supplement, The Economist and Playboy. His translations include over 20 titles of fiction, poetry and nonfiction from French and Italian.

Feb. 4 noon — ‘New Words and Music With Voice’

This concert will showcase collaborative works among five creative writing Master of Fine Arts students and four doctoral students in music composition and theory. The noon concert will also include music, theatre and dance students performing, as well as music faculty. The prerecorded concert will be shown on the Department of Music YouTube channel and available for viewing after its premiere.

Earrings, a musical drama, with libretto by Mangai Arumugam and music by Emily Joy Sullivan.
Spaceman / Watchman for soprano, readers and piano, with words by Sawyer Elms and Jordan Dahlen and music by Trey Makler.
Geographies I for soprano and piano, with music by Daniel Godsil, music and words by Jennifer Soong.
can you hear me? for solo voice, with words by Anna Tuchin and music by Orkun Akyol.

Feb. 9 — Jess Arndt’s ‘Large Animals’

Jess Arndt's debut story collection, Large Animals , was short-listed for the California Book Prize and long-listed for The Story Prize. The characters in the stories rebel against accepted ideas of human identity and present a new normal that is as ambiguous as it is messy.

Arndt’s writing has recently appeared in The LA Review of Books, THEM, Lithub, Hazlitt, Fence, BOMB, Night Papers, and in collaborations with Swedish band The Knife. Arndt is a co-founder of New Herring Press. Creative writing M.F.A. students Sawyer Elms and Rowena Chodkowski will also read.

March 2 — Alumni read from new books

Becky Mandelbaum (M.A., English, ’16) is author of Bad Kansas , the winner of the 2016 Flannery O’Connor Award for Short Fiction, and of The Bright Side Sanctuary for Animals , published in 2020.
Kiik Araki-Kawaguchi (M.A., English, ’11) is author of the novel The Book of Kane and Margaret , published in 2020, and Disintegration Made Plain and Easy .
Megan Kaminski (M.A., English, ’05) is author of three poetry collections, including 2020’s Gentlewomen .

March 3 — Carmen Maria Machado reads from bestselling memoir

She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award and the National Book Critics Circle's John Leonard Prize.

Machado will read from In the Dream House and take questions from Ethan Nosowsky, editorial director of Graywolf Press. Creative writing M.F.A. students Anna Tuchin and Brianna Cockett-Mamiya will also read. The event is co-sponsored by the Jan Shrem and Maria Manetti Shrem Museum of Art.

Primary Category

2023-2024 General Catalog

English (enl) college of letters & science, enl 003 — introduction to literature (4 units).

This version has ended; see updated course, below. Course Description: Introductory study of several genres of English literature, emphasizing both analysis of particular works and the range of forms and styles in English prose and poetry. Frequent writing assignments will be made.

Prerequisite(s): Completion of Entry Level Writing Requirement (ELWR).

Learning Activities: Lecture/Discussion 4 hour(s).
Grade Mode: Letter.
General Education: Arts & Humanities (AH); Writing Experience (WE).

ENL 003 — Introduction to Literature (4 units)

Course Description: Introductory study of several genres of English literature, emphasizing both analysis of particular works and the range of forms and styles in English prose and poetry. Frequent writing assignments.
Prerequisite(s): Completion of Entry Level Writing Requirement (ELWR); or concurrent enrollment in ENL 003A or ENL 003AV.
This course version is effective from, and including: Winter Quarter 2024.

ENL 003A — Writers' Workshop (2 units)

This version has ended; see updated course, below. Course Description: Focuses on the development of writing and revision strategies, exploring ways to understand a writing task; to develop appropriate content for a writing task; to revise content to reflect competence as a communicator.

Learning Activities: Discussion/Laboratory 2 hour(s).
Enrollment Restriction(s): Concurrent enrollment in a lower division writing course required, preferably ENL 003 ; if necessary, based upon demand and academic advisor approval, students may concurrently enroll in an equivalent course instead; e.g., UWP 001 or NAS 005 .

ENL 003A — Writers' Workshop (2 units)

Course Description: Focuses on the development of writing and revision strategies, exploring ways to understand a writing task; to develop appropriate content for a writing task; to revise content to reflect competence as a communicator.
Prerequisite(s): ENL 003 or ENL 003V ; has not yet completed the Entry Level Writing Requirement and concurrent enrollment in ENL 003 or ENL 003V
Enrollment Restriction(s): Concurrent enrollment in ENL 003 or ENL 003V required.

ENL 003V — Introduction to Literature (4 units)

Learning Activities: Web Virtual Lecture 2 hour(s), Web Electronic Discussion 2 hour(s).
This course version is effective from, and including: Fall Quarter 2023.

ENL 003V — Introduction to Literature (4 units)

Course Description: Introductory study of several genres of English literature, emphasizing both analysis of particular works and the range of forms and styles in English prose and poetry. Frequent writing assignments will be made.

ENL 005F — Introduction to Creative Writing: Fiction (4 units)

Course Description: Elementary principles of writing fiction. Write both in prescribed forms and in experimental forms of their own choosing. No final examination.

Repeat Credit: May be repeated 1 time(s).

ENL 005NF — Introduction to Creative Writing: Non-Fiction (4 units)

Course Description: Elementary principles of writing creative non-fiction. Work in prescribed literary forms (such as essay, meditation, biography, memoir, book review, documentary, or experimental non-fiction forms) and forms of students' choosing. No final examination.

Repeat Credit: May be repeated 1 time(s) when instructor differs.

ENL 005P — Introduction to Creative Writing: Poetry (4 units)

Course Description: Elementary principles of writing poetry. Write both in prescribed forms and in experimental forms of their own choosing. No final examination.

General Education: Arts & Humanities (AH).

ENL 010A — Literatures in English I: To 1700 (4 units)

This version has ended; see updated course, below. Course Description: Historical introduction to English language and literature from 800-1700. Linguistic borrowing, innovation, and change. Emergence of key literary genres. Colonial America as a new site of English literary production and consumption.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y ; or equivalent.

Learning Activities: Lecture 3 hour(s), Extensive Writing/Discussion 1 hour(s).

ENL 010A — Literatures in English I: To 1700 (4 units)

Course Description: Historical introduction to English language and literature from 800-1700. Linguistic borrowing, innovation, and change. Emergence of key literary genres. Colonial America as a new site of English literary production and consumption.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ; or equivalent.

ENL 010B — Literatures in English II: 1700-1900 (4 units)

This version has ended; see updated course, below. Course Description: Historical introduction to English language and literature from 1700-1900. Linguistic borrowing, innovation, colonization, and change. Emergence and development of key literary genres. America, Britain, Ireland, Scotland, and India as important sites of English literary production and consumption.

ENL 010B — Literatures in English II: 1700-1900 (4 units)

Course Description: Historical introduction to English language and literature from 1700-1900. Linguistic borrowing, innovation, colonization, and change. Emergence and development of key literary genres. America, Britain, Ireland, Scotland, and India as important sites of English literary production and consumption.

ENL 010C — Literatures in English III: 1900 to Present (4 units)

This version has ended; see updated course, below. Course Description: Historical introduction to English language and literature from 1900-present. Linguistic borrowing, innovation, and change. Emergence and development of key literary genres. Formal experimentation. Modernism as transnational phenomenon.

ENL 010C — Literatures in English III: 1900 to Present (4 units)

Course Description: Historical introduction to English language and literature from 1900-present. Linguistic borrowing, innovation, and change. Emergence and development of key literary genres. Formal experimentation. Modernism as transnational phenomenon.

ENL 040 — Introductory Topics in Literature (4 units)

This version has ended; see updated course, below. Course Description: Study of a special topic. Literature written in English in any period or place or genre. Thematic, formal, or temporal focus.

Learning Activities: Lecture/Discussion 3 hour(s), Extensive Writing.
Repeat Credit: May be repeated 2 time(s) when content differs.

ENL 040 — Introductory Topics in Literature (4 units)

Course Description: Study of a special topic. Literature written in English in any period or place or genre. Thematic, formal, or temporal focus.

ENL 041 — Introductory Topics in Literature & Media (4 units)

This version has ended; see updated course, below. Course Description: Study of a topic centered on the relationships between literature and moving-image media.

Prerequisite(s): ENL 003 or ( UWP 001 or UWP 001V or UWP 001Y ); or equivalent.

Learning Activities: Lecture/Discussion 3 hour(s), Film Viewing 3 hour(s).
General Education: Arts & Humanities (AH); Visual Literacy (VL); Writing Experience (WE).

ENL 041 — Introductory Topics in Literature & Media (4 units)

Course Description: Study of a topic centered on the relationships between literature and moving-image media.
Prerequisite(s): ( ENL 003 or ENL 003V ) or UWP 001 or UWP 001V or UWP 001Y ); or equivalent.

ENL 042 — Approaches to Reading (4 units)

This version has ended; see updated course, below. Course Description: Close reading and interpretation of literature from a variety of traditional and contemporary approaches. Topics include traditional textual and historical approaches; new criticism; formalism; psychological criticism; feminism and gender; reader-response; materialist approaches. Frequent written assignments.

Learning Activities: Lecture 3 hour(s), Discussion 1 hour(s).

ENL 042 — Approaches to Reading (4 units)

Course Description: Close reading and interpretation of literature from a variety of traditional and contemporary approaches. Topics include traditional textual and historical approaches; new criticism; formalism; psychological criticism; feminism and gender; reader-response; materialist approaches. Frequent written assignments.
Prerequisite(s): ( ENL 003 or ENL 003V ) or ( UWP 001 or UWP 001V or UWP 001Y ); or equivalent.

ENL 043 — Introductory Topics in Drama (4 units)

This version has ended; see updated course, below. Course Description: Close reading of, and topics relating to selected works of British and American drama from a range of historical periods.

ENL 043 — Introductory Topics in Drama (4 units)

Course Description: Close reading of, and topics relating to selected works of British and American drama from a range of historical periods.

ENL 044 — Introductory Topics in Fiction (4 units)

This version has ended; see updated course, below. Course Description: Close reading of, and topics relating to, British and American Fiction: short stories, novellas, novels.

ENL 044 — Introductory Topics in Fiction (4 units)

Course Description: Close reading of, and topics relating to, British and American Fiction: short stories, novellas, novels.

ENL 045 — Introductory Topics in Poetry (4 units)

This version has ended; see updated course, below. Course Description: Topical study and close reading of selections from English and American poetry.

ENL 045 — Introductory Topics in Poetry (4 units)

Course Description: Topical study and close reading of selections from English and American poetry.

ENL 051 — Hot Bars, Supreme Lyrics, & Rhymes for Days: Hip Hop as Poetry (3 units)

Course Description: Literary approaches to hip hop as poetry. Formal examination of rap lyrics in relation to technology, visual expression, dance, and knowledge production. Historical and cultural consideration of race, ethnicity, gender, urban culture, and politics.

Learning Activities: Lecture/Discussion 3 hour(s).
General Education: Arts & Humanities (AH); American Cultures, Governance, & History (ACGH); Domestic Diversity (DD).

ENL 052 — Pop Culture Shakespeare (3 units)

Course Description: Critical approaches to the study of Shakespeare’s afterlife in contemporary American media. Focus on visual, audio, and kinesthetic modes of analysis and presentation. Relation of Shakespeare to contemporary society, politics, media, and economics.

General Education: Arts & Humanities (AH); Domestic Diversity (DD); Visual Literacy (VL).

ENL 053 — Youth in Revolt (3 units)

Course Description: American literary and cultural representations of adolescence as a time of rebellious refusals and wild behaviors in relation to questions of gender and sexuality, psychological states, economic pressures, racial inequality, and methods of discipline and punishment.

General Education: Arts & Humanities (AH); Domestic Diversity (DD).

ENL 054 — Literature, Health, & Medicine (3 units)

Course Description: Literary and cultural representations of health and medicine in relation to issues of race, gender, sexuality, and disability. Narratives and reading practices that provide complex accounts of the social determinants of health, contested understandings of illness, and critical perspectives on biomedicine.

ENL 055 — Literary Animals (3 units)

Course Description: Literary exploration of animals as spectacles, symbols, scientific objects, human companions, and speaking subjects through animal fables and allegories, tales for children, poems, realist narratives, essays, and experimental fictions.

ENL 056 — Speculative Fictions (3 units)

Course Description: Historical or thematic exploration of speculative genres such as science fiction, fantasy, utopia/dystopia, and/or horror. May include worldbuilding, intersections with scientific and other disciplinary knowledges, relation to social and political conditions.

ENL 057 — Literatures of Climate Change (3 units)

Course Description: Readings in English-language climate change literature from around the world. Narratives of climate migration, adaptation, and geopolitical upheaval. Use of innovative literary forms and genres for representing the scale and impacts of global warming. Comparison of scientific and fictional scenarios.

Learning Activities: Lecture 3 hour(s).
General Education: Arts & Humanities (AH); World Cultures (WC).

ENL 059 — Racial Imaginaries (3 units)

Course Description: Critical vocabularies and frameworks for studying the cultural construction of race as a signifier of human difference. Theories of racial formation in poetry, fiction, and other imaginative genres. Rhetorical and media strategies that present and/or obscure the material sources and institutional histories of race and racism.

ENL 072 — Introduction to Games (4 units)

Course Description: Introduction to the history, theory, and practice of play. Survey of both analog and digital games. Overview of gaming cultures, aesthetics, industries, and technologies.

Cross Listing: CDM 072 .
General Education: Arts & Humanities (AH); Visual Literacy (VL).

ENL 092 — Internship in English (1-12 units)

This version has ended; see updated course, below. Course Description: Internships in fields where students can practice their skills. May be taught abroad.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y ; and consent of instructor.

Learning Activities: Internship 3-36 hour(s).
Repeat Credit: May be repeated 12 unit(s).
Grade Mode: Pass/No Pass only.

ENL 092 — Internship in English (1-12 units)

Course Description: Internships in fields where students can practice their skills. May be taught abroad.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ; and consent of instructor.

ENL 098 — Directed Group Study (1-5 units)

This version has ended; see updated course, below. Course Description: Directed group study.

Learning Activities: Variable.

ENL 098 — Directed Group Study (1-5 units)

Course Description: Directed group study.

ENL 098F — Student Facilitated Course (1-4 units)

This version has ended; see updated course, below. Course Description: Student facilitated course intended primarily for lower division students.

Prerequisite(s): ENL 003 or ( UWP 001 or UWP 001V or UWP 001Y ); consent of instructor.

Learning Activities: Variable 1-4 hour(s).

ENL 098F — Student Facilitated Course (1-4 units)

Course Description: Student facilitated course intended primarily for lower division students.
Prerequisite(s): ( ENL 003 or ENL 003V ) or ( UWP 001 or UWP 001V or UWP 001Y ); consent of instructor.

ENL 099 — Special Study for Undergraduates (1-5 units)

Course Description: Special study for undergraduates.

ENL 100F — Creative Writing: Fiction (4 units)

Course Description: Writing of fiction. No final examination.

Prerequisite(s): ENL 005F or ENL 005P ; ENL 005NF ; and consent of instructor.

Learning Activities: Discussion 4 hour(s).
Enrollment Restriction(s): Priority given to English (Creative Writing) majors.
Repeat Credit: May be repeated with consent of instructor.

ENL 100FA — Creative Writing Advanced Fiction (4 units)

Course Description: Development and evaluation of students' work in prose, primarily in the workshop format. Some reading and discussion of published novels and short stories. Conferences with individual students once per quarter.

Prerequisite(s): ENL 100F .

Enrollment Restriction(s): Priority given to English majors; admission by application only.
Repeat Credit: May be repeated 1 time(s) with consent of instructor.

ENL 100NF — Creative Writing: Non-Fiction (4 units)

Course Description: Writing of non-fiction. No final examination.

Prerequisite(s): ENL 005F or ENL 005P or ENL 005NF ; and consent of instructor.

ENL 100P — Creative Writing: Poetry (4 units)

Course Description: Writing of poetry.

ENL 100PA — Creative Writing Advanced Poetry (4 units)

Course Description: Development and evaluation of students' work in poetry, primarily in the workshop format. Some reading and discussion of published works of poetry. Conferences with individual students once per quarter.

Prerequisite(s): ENL 100P .

Enrollment Restriction(s): Priority to English majors; admission by application only.

ENL 105 — History of the English Language (4 units)

This version has ended; see updated course, below. Course Description: History of the English language. Examination of the language as recorded from Old English to present-day English. Relationship of English to other languages; development of vocabulary, phonology, and grammatical patterns.

Prerequisite(s): ENL 003 or ( UWP 001 or UWP 001V or UWP 001Y ); or the equivalent.

Learning Activities: Lecture/Discussion 3 hour(s), Term Paper.

ENL 105 — History of the English Language (4 units)

Course Description: History of the English language. Examination of the language as recorded from Old English to present-day English. Relationship of English to other languages; development of vocabulary, phonology, and grammatical patterns.
Prerequisite(s): ( ENL 003 or ENL 003V ) or ( UWP 001 or UWP 001V or UWP 001Y ); or the equivalent.

ENL 106 — English Grammar (4 units)

This version has ended; see updated course, below. Course Description: Survey of present-day English grammar as informed by contemporary linguistic theories. The major syntactic structures of English; their variation across dialects, styles, and registers; their development; and their usefulness in describing the conventions of English.

Prerequisite(s): ENL 003 or LIN 001 or UWP 001 or UWP 001V or UWP 001Y ; or consent of instructor.

Cross Listing: LIN 106 , UWP 106 .

ENL 106 — English Grammar (4 units)

Course Description: Survey of present-day English grammar as informed by contemporary linguistic theories. The major syntactic structures of English; their variation across dialects, styles, and registers; their development; and their usefulness in describing the conventions of English.
Prerequisite(s): ENL 003 or ENL 003V or LIN 001 or UWP 001 or UWP 001V or UWP 001Y ; or consent of instructor.

ENL 106P — English Grammar Practicum (2 units)

Course Description: Practice in teaching the principles of grammar to the kinds of audiences teachers encounter in California. Discussions with teachers who teach in these areas. Examination of pedagogical research on teaching grammar.

Prerequisite(s): ENL 106 ; LIN 106 (can be concurrent).

Learning Activities: Discussion 2 hour(s).

ENL 107 — Freedom of Expression (4 units)

This version has ended; see updated course, below. Course Description: Historical development of fundamental issues and contemporary controversies about freedom of expression, with emphasis on literary and artistic censorship.

Learning Activities: Lecture 3 hour(s), Term Paper.

ENL 107 — Freedom of Expression (4 units)

Course Description: Historical development of fundamental issues and contemporary controversies about freedom of expression, with emphasis on literary and artistic censorship.
Prerequisite(s): ENL 003 or ENL 003V or ( UWP 001 or UWP 001V or UWP 001Y ); or the equivalent.

ENL 110A — Introduction to Literary Theory (4 units)

This version has ended; see updated course, below. Course Description: Key theoretical terms, concepts, and thinkers from the Greeks to the modern era.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y .

Learning Activities: Lecture/Discussion 3 hour(s), Extensive Writing/Discussion 1 hour(s).

ENL 110A — Introduction to Literary Theory (4 units)

Course Description: Key theoretical terms, concepts, and thinkers from the Greeks to the modern era.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y .

ENL 110B — Introduction to Modern Literary & Critical Theory (4 units)

This version has ended; see updated course, below. Course Description: History of literary criticism in the modern era, with emphasis on the ties with the past and the special problems presented by modern literary theory.

ENL 110B — Introduction to Modern Literary & Critical Theory (4 units)

Course Description: History of literary criticism in the modern era, with emphasis on the ties with the past and the special problems presented by modern literary theory.

ENL 111 — Topics in Medieval Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused intensive examination of selected topics in Medieval British literature.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y ; or the equivalent.

Repeat Credit: May be repeated.
General Education: Arts & Humanities (AH); World Cultures (WC); Writing Experience (WE).

ENL 111 — Topics in Medieval Literature (4 units)

Course Description: Historically or thematically focused intensive examination of selected topics in Medieval British literature.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ; or the equivalent.

ENL 113A — Chaucer: Troilus & the "Minor" Poems (4 units)

This version has ended; see updated course, below. Course Description: Development of the poet's artistry and ideas from his first work to his masterpiece, "Troilus and Criseyde"

ENL 113A — Chaucer: Troilus & the "Minor" Poems (4 units)

Course Description: Development of the poet's artistry and ideas from his first work to his masterpiece, "Troilus and Criseyde"

ENL 113B — Chaucer: The Canterbury Tales (4 units)

This version has ended; see updated course, below. Course Description: Literary analysis of the complete "Canterbury Tales." Courtly love, literary forms, medieval science and astrology, theology and dogma as they inform the reading of Chaucer's work.

ENL 113B — Chaucer: The Canterbury Tales (4 units)

Course Description: Literary analysis of the complete "Canterbury Tales." Courtly love, literary forms, medieval science and astrology, theology and dogma as they inform the reading of Chaucer's work.

ENL 115 — Topics in 16th- & 17th-Century Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of the Renaissance.

ENL 115 — Topics in 16th- & 17th-Century Literature (4 units)

Course Description: Historically or thematically focused study of works of the Renaissance.

ENL 117 — Shakespeare (4 units)

This version has ended; see updated course, below. Course Description: Historically, generically, or thematically focused study of Shakespeare's works.

ENL 117 — Shakespeare (4 units)

Course Description: Historically, generically, or thematically focused study of Shakespeare's works.

ENL 120 — Law & Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically, thematically, or generically focused study of the relationship between law and literature.

General Education: Arts & Humanities (AH); American Cultures, Governance, & History (ACGH); Domestic Diversity (DD); Oral Skills (OL); Writing Experience (WE).

ENL 120 — Law & Literature (4 units)

Course Description: Historically, thematically, or generically focused study of the relationship between law and literature.

ENL 122 — Milton (4 units)

This version has ended; see updated course, below. Course Description: Selected major works, including Paradise Lost.

ENL 122 — Milton (4 units)

Course Description: Selected major works, including Paradise Lost.

ENL 123 — 18th-Century British Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of 18th-century English literature.

ENL 123 — 18th-Century British Literature (4 units)

Course Description: Historically or thematically focused study of 18th-century English literature.

ENL 125 — Topics in Irish Literature (4 units)

This version has ended; see updated course, below. Course Description: Intensive study or treatment of special topics relating to the emergence, invention, and re-invention of Irish literature.

ENL 125 — Topics in Irish Literature (4 units)

Course Description: Intensive study or treatment of special topics relating to the emergence, invention, and re-invention of Irish literature.

ENL 126 — Food & Literature (4 units)

Course Description: English-language literatures of food from around the world. Literary cultures of food as they relate to broader cultural practices, ethnic and racial identities, place and diaspora. Literary genres and forms of food writing.

Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 .

ENL 130 — British Romantic Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of Romantic English literature.

ENL 130 — British Romantic Literature (4 units)

Course Description: Historically or thematically focused study of works of Romantic English literature.

ENL 133 — 19th-Century British Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of 19th-century English literature.

ENL 133 — 19th-Century British Literature (4 units)

Course Description: Historically or thematically focused study of works of 19th-century English literature.

ENL 137 — British Literature, 1900-1945 (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of British literature (drama, poetry, prose fiction) from the period between 1900 and the end of World War II.

Learning Activities: Lecture 3 hour(s), Extensive Writing.

ENL 137 — British Literature, 1900-1945 (4 units)

Course Description: Historically or thematically focused study of works of British literature (drama, poetry, prose fiction) from the period between 1900 and the end of World War II.

ENL 138 — British Literature, 1945 to Present (4 units)

Course Description: Historically or thematically focused study of works of British literature (drama, poetry, prose fiction) from the period between 1945 and the present. May be taught abroad.

ENL 139 — Topics in Global Literatures & Cultures (4 units)

Course Description: Historically or regionally focused study of world literatures in English (other than the national literatures of British Isles and the United States), particularly from post-colonial regions in Africa, the Caribbean, and Asia, and immigrant cultures in the English-speaking world.

Learning Activities: Lecture 3 hour(s), Extensive Writing/Discussion.

ENL 140 — Topics in Postcolonial Literatures & Cultures (4 units)

This version has ended; see updated course, below. Course Description: Study of postcolonial literature of Anglophone colonies. Specific emphases may include literature from and about Anglophone India, the Caribbean, the Middle East, South Asia, Africa, and/or South America.

ENL 140 — Topics in Postcolonial Literatures & Cultures (4 units)

Course Description: Study of postcolonial literature of Anglophone colonies. Specific emphases may include literature from and about Anglophone India, the Caribbean, the Middle East, South Asia, Africa, and/or South America.

ENL 141 — Topics in Diasporic Literatures & Migration (4 units)

This version has ended; see updated course, below. Course Description: Study of literatures, histories, and cultures of one or more diasporic groups.

ENL 141 — Topics in Diasporic Literatures & Migration (4 units)

Course Description: Study of literatures, histories, and cultures of one or more diasporic groups.

ENL 142 — Early American Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of American literature of the 17th and 18th centuries.

General Education: Arts & Humanities (AH); American Cultures, Governance, & History (ACGH); Writing Experience (WE).

ENL 142 — Early American Literature (4 units)

Course Description: Historically or thematically focused study of American literature of the 17th and 18th centuries.

ENL 143 — 19th-Century American Literature to the Civil War (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of 19th-century American literature.

General Education: Arts & Humanities (AH); American Cultures, Governance, & History (ACGH); Domestic Diversity (DD); Writing Experience (WE).

ENL 143 — 19th-Century American Literature to the Civil War (4 units)

Course Description: Historically or thematically focused study of works of 19th-century American literature.

ENL 144 — Post-Civil War American Literature (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of post-Civil War American literature.

ENL 144 — Post-Civil War American Literature (4 units)

Course Description: Historically or thematically focused study of works of post-Civil War American literature.

ENL 145 — Reading Race, Class, & Gender (4 units)

This version has ended; see updated course, below. Course Description: Readings in literature and culture that present race, class, gender, sexuality, ability, and citizenship as inter-articulated signifiers of difference. Literature is contextualized alongside works of sociology, history, philosophy, and law. Inter-discursive nature of racial thought and policy, and on historical and rhetorical practices through which race acquires meaning.

Prerequisite(s): ENL 003 or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 or UWP 001 or UWP 001V or UWP 001Y .

ENL 145 — Reading Race, Class, & Gender (4 units)

Course Description: Readings in literature and culture that present race, class, gender, sexuality, ability, and citizenship as inter-articulated signifiers of difference. Literature is contextualized alongside works of sociology, history, philosophy, and law. Inter-discursive nature of racial thought and policy, and on historical and rhetorical practices through which race acquires meaning.
Prerequisite(s): ENL 003 or ENL 003V or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 or UWP 001 or UWP 001V or UWP 001Y .

ENL 146 — American Literature 1900-1945 (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of American literature (drama, poetry, prose fiction) from the period between 1900 and the end of World War II.

ENL 146 — American Literature 1900-1945 (4 units)

Course Description: Historically or thematically focused study of American literature (drama, poetry, prose fiction) from the period between 1900 and the end of World War II.

ENL 147 — American Literature, 1945 to the Present (4 units)

Course Description: Historically or thematically focused study of American literature (drama, poetry, prose fiction) from the period between 1945 and the present.

ENL 149 — Topics in Literature (4 units)

This version has ended; see updated course, below. Course Description: Intensive examination of literature considered in topical terms, not necessarily historically. May be taught abroad.

Repeat Credit: May be repeated when content differs.

ENL 149 — Topics in Literature (4 units)

Course Description: Intensive examination of literature considered in topical terms, not necessarily historically. May be taught abroad.

ENL 150A — British Drama to 1800 (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of English drama prior to 1800.

ENL 150A — British Drama to 1800 (4 units)

Course Description: Historically or thematically focused study of works of English drama prior to 1800.

ENL 150B — Drama from 1800 to the Present (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused study of works of British drama from 1800 to the present.

ENL 150B — Drama from 1800 to the Present (4 units)

Course Description: Historically or thematically focused study of works of British drama from 1800 to the present.

ENL 153 — Topics in Drama (4 units)

This version has ended; see updated course, below. Course Description: Historical or thematic study of drama.

Repeat Credit: May be repeated when topic differs.

ENL 153 — Topics in Drama (4 units)

Course Description: Historical or thematic study of drama.

ENL 154 — The Graphic Novel (4 units)

This version has ended; see updated course, below. Course Description: Thematically, historically, and formally focused study of the graphic novel genre. Contents may include any regional, national, or transnational group of graphic novels.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y ; or equivalent courses.

ENL 154 — The Graphic Novel (4 units)

Course Description: Thematically, historically, and formally focused study of the graphic novel genre. Contents may include any regional, national, or transnational group of graphic novels.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ; or equivalent courses.

ENL 155A — 18th-Century British Novel (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically organized examination of the 18th-century British novel, with particular emphasis on its evolution, including the epistolary novel, the picaresque novel, and the Gothic novel: Richardson, Fielding, Sterne, Austen.

ENL 155A — 18th-Century British Novel (4 units)

Course Description: Historically or thematically organized examination of the 18th-century British novel, with particular emphasis on its evolution, including the epistolary novel, the picaresque novel, and the Gothic novel: Richardson, Fielding, Sterne, Austen.

ENL 155B — 19th-Century British Novel (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically organized examination of 19th-century British novelists, with emphasis on the historical novel, the social novel, and novels by women: Scott, Dickens, the Brontes, Eliot, Hardy.

ENL 155B — 19th-Century British Novel (4 units)

Course Description: Historically or thematically organized examination of 19th-century British novelists, with emphasis on the historical novel, the social novel, and novels by women: Scott, Dickens, the Brontes, Eliot, Hardy.

ENL 155C — 20th-Century British Novel (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically organized examination of the 20th-century British novel, with emphasis on impressionism; the revolt against naturalism; the experimental novel; the anti-modernist reaction: Conrad, Joyce, Woolf, Lawrence, Drabble, Rhys.

ENL 155C — 20th-Century British Novel (4 units)

Course Description: Historically or thematically organized examination of the 20th-century British novel, with emphasis on impressionism; the revolt against naturalism; the experimental novel; the anti-modernist reaction: Conrad, Joyce, Woolf, Lawrence, Drabble, Rhys.

ENL 156 — The Short Story (4 units)

This version has ended; see updated course, below. Course Description: The short story as a genre; its historical development, techniques, and formal character as a literary form. European as well as American writers.

ENL 156 — The Short Story (4 units)

Course Description: The short story as a genre; its historical development, techniques, and formal character as a literary form. European as well as American writers.

ENL 157 — Detective Fiction (4 units)

This version has ended; see updated course, below. Course Description: Historically, formally, and thematically focused study of novels and short stories in the detective fiction genre.

ENL 157 — Detective Fiction (4 units)

Course Description: Historically, formally, and thematically focused study of novels and short stories in the detective fiction genre.

ENL 158A — The American Novel to 1900 (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically organized examination of the rise and development of the American novel from its beginnings; Hawthorne, Melville, Twain, James, and others.

ENL 158A — The American Novel to 1900 (4 units)

Course Description: Historically or thematically organized examination of the rise and development of the American novel from its beginnings; Hawthorne, Melville, Twain, James, and others.

ENL 158B — The American Novel from 1900 to the Present (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically organized examination of important American novelists from 1900 to the present: authors may include Willa Cather, Nathanael West, William Faulkner, Ralph Ellison, Zora Neale Hurston, Thomas Pynchon, Ishmael Reed, Maria Helena Viramontes, Rachel Kushner, and others.

General Education: Arts & Humanities (AH); Domestic Diversity (DD); Writing Experience (WE).

ENL 158B — The American Novel from 1900 to the Present (4 units)

Course Description: Historically or thematically organized examination of important American novelists from 1900 to the present: authors may include Willa Cather, Nathanael West, William Faulkner, Ralph Ellison, Zora Neale Hurston, Thomas Pynchon, Ishmael Reed, Maria Helena Viramontes, Rachel Kushner, and others.

ENL 159 — Topics in the Novel (4 units)

This version has ended; see updated course, below. Course Description: Examination of major novels arranged thematically. Topics might include Bildungsroman, stream-of-consciousness novel, Gothic novel, historical novel.

ENL 159 — Topics in the Novel (4 units)

Course Description: Examination of major novels arranged thematically. Topics might include Bildungsroman, stream-of-consciousness novel, Gothic novel, historical novel.

ENL 160 — Film as Narrative (4 units)

This version has ended; see updated course, below. Course Description: Study of modern film (1930 to present) as a storytelling medium.

Learning Activities: Lecture 3 hour(s), Film Viewing 3 hour(s).

ENL 160 — Film as Narrative (4 units)

Course Description: Study of modern film (1930 to present) as a storytelling medium.

ENL 162 — Film Theory & Criticism (4 units)

This version has ended; see updated course, below. Course Description: Film theory and criticism, with a study of ten major works of international film art.

ENL 162 — Film Theory & Criticism (4 units)

Course Description: Film theory and criticism, with a study of ten major works of international film art.

ENL 163 — Literary Study in the British Isles (4 units)

This version has ended; see updated course, below. Course Description: Literary Study in the British Isles: On-site study of the literature, film, and/or performance of the British Isles. Taught abroad.

Enrollment Restriction(s): Enrollment by application only through the Education Abroad Center.
Repeat Credit: May be repeated 2 time(s) when subject differs.

ENL 163 — Literary Study in the British Isles (4 units)

Course Description: Literary Study in the British Isles: On-site study of the literature, film, and/or performance of the British Isles. Taught abroad.

ENL 164 — Writing Science (4 units)

This version has ended; see updated course, below. Course Description: Texts and writing practices in the production of scientific knowledge. Surveys the literary structure of scientific arguments; history of scientific genres; rhetoric and semiotics in scientific culture; graphical systems in the experimental laboratory; narratives of science, including science fiction.

Prerequisite(s): ENL 003 ; STS 001 ; or equivalent.

Cross Listing: STS 164 .
General Education: Arts & Humanities (AH); Scientific Literacy (SL); Writing Experience (WE).

ENL 164 — Writing Science (4 units)

Course Description: Texts and writing practices in the production of scientific knowledge. Surveys the literary structure of scientific arguments; history of scientific genres; rhetoric and semiotics in scientific culture; graphical systems in the experimental laboratory; narratives of science, including science fiction.
Prerequisite(s): ( ENL 003 or ENL 003V ); STS 001 ; or equivalent.

ENL 165 — Topics in Poetry (4 units)

This version has ended; see updated course, below. Course Description: Intensive examination of various topics expressed in poetry from all periods of English and American literature.

Prerequisite(s): ( ENL 003 or UWP 001 or UWP 001V or UWP 001Y ); ENL 045 .

Learning Activities: Lecture/Discussion 3 hour(s), Term Paper 1 hour(s).
Repeat Credit: May be repeated when topic covers different poets & poems.

ENL 165 — Topics in Poetry (4 units)

Course Description: Intensive examination of various topics expressed in poetry from all periods of English and American literature.
Prerequisite(s): ( ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ); ENL 045 .

ENL 166 — Love & Desire in Contemporary American Poetry (4 units)

This version has ended; see updated course, below. Course Description: Close reading of contemporary American poems on the theme of love and desire by poets of diverse ethnicities and of gay, lesbian, and heterosexual orientations.

ENL 166 — Love & Desire in Contemporary American Poetry (4 units)

Course Description: Close reading of contemporary American poems on the theme of love and desire by poets of diverse ethnicities and of gay, lesbian, and heterosexual orientations.

ENL 167 — 20th-Century African American Poetry (4 units)

This version has ended; see updated course, below. Course Description: African American poetry in the 20th-century, including oral and literary traditions. Authors covered may include Gwendolyn Brooks, Countee Cullen, Robert Hayden, and Langston Hughes.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V ; UWP 001Y ; or the equivalent.

ENL 167 — 20th-Century African American Poetry (4 units)

Course Description: African American poetry in the 20th-century, including oral and literary traditions. Authors covered may include Gwendolyn Brooks, Countee Cullen, Robert Hayden, and Langston Hughes.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V ; UWP 001Y ; or the equivalent.

ENL 168 — 20th-Century American Poetry (4 units)

This version has ended; see updated course, below. Course Description: Historical Study of American poetry since 1900, with thematic and formal focus at the instructor's discretion.

ENL 168 — 20th-Century American Poetry (4 units)

Course Description: Historical Study of American poetry since 1900, with thematic and formal focus at the instructor's discretion.

ENL 171 — Game Studies Seminar (4 units)

Course Description: Theory and methods for researching games, play, media, and culture. Reading, writing, and discussion about playable media.

Cross Listing: CDM 171 .

ENL 171A — The Bible as Literature: The Old Testament (4 units)

This version has ended; see updated course, below. Course Description: Selected readings from the Old Testament illustrating various literary forms. Emphasis on the Pentateuch, the Historical Books, and the Wisdom Books. May be taken independently of ENL 171B .

ENL 171A — The Bible as Literature: The Old Testament (4 units)

Course Description: Selected readings from the Old Testament illustrating various literary forms. Emphasis on the Pentateuch, the Historical Books, and the Wisdom Books. May be taken independently of ENL 171B .

ENL 171B — The Bible as Literature: Prophets & New Testament (4 units)

This version has ended; see updated course, below. Course Description: Selected readings from the Old Testament prophets and the New Testament. May be taken independently of ENL 171A .

ENL 171B — The Bible as Literature: Prophets & New Testament (4 units)

Course Description: Selected readings from the Old Testament prophets and the New Testament. May be taken independently of ENL 171A .

ENL 172 — Video Games & Culture (4 units)

Course Description: Critical approaches to the study of video games, focusing on formal, historical, and cultural modes of analysis. History of software and hardware in North American and global contexts. Relations of games to society, politics, economics, media, etc.

Prerequisite(s): CDM 072 or ENL 072 recommended.

Cross Listing: CDM 172 , STS 172 .
General Education: Arts & Humanities (AH) or Social Sciences (SS); American Cultures, Governance, & History (ACGH); Visual Literacy (VL); Writing Experience (WE).

ENL 173 — Science Fiction (4 units)

This version has ended; see updated course, below. Course Description: Literary modes and methods of science fiction. Representative texts, authors, and themes of the genre, e.g., time travel, alternative universes, and utopias. Relations of science fiction to science, philosophy, and culture.

Prerequisite(s): ENL 003 or STS 001 ; or equivalent.

Cross Listing: STS 173 .

ENL 173 — Science Fiction (4 units)

Course Description: Literary modes and methods of science fiction. Representative texts, authors, and themes of the genre, e.g., time travel, alternative universes, and utopias. Relations of science fiction to science, philosophy, and culture.
Prerequisite(s): ENL 003 or ENL 003V or STS 001 ; or equivalent.

ENL 177 — Study of an Individual Author (4 units)

Course Description: In-depth study of an author's works; historical context; relation to predecessors and contemporaries; critical reception; influence.

Prerequisite(s): ENL 110A or ENL 110B .

Repeat Credit: May be repeated 1 time(s) when author differs.

ENL 178 — Topics in Nations, Regions, & Other Cultural Geographies (4 units)

This version has ended; see updated course, below. Course Description: Study of a local, regional, national, transnational, or other geographical literary formation (e.g., Global South; Literatures of the U.S./Mexico border; Literatures of the Pacific; Indigenous North American literature) centering underrepresented racial and/or ethnic perspectives.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 .

Repeat Credit: May be repeated 2 time(s) when topic differs.

ENL 178 — Topics in Nations, Regions, & Other Cultural Geographies (4 units)

Course Description: Study of a local, regional, national, transnational, or other geographical literary formation (e.g., Global South; Literatures of the U.S./Mexico border; Literatures of the Pacific; Indigenous North American literature) centering underrepresented racial and/or ethnic perspectives.

ENL 179 — Topics in Comparative Racial & Ethnic Literary Studies (4 units)

This version has ended; see updated course, below. Course Description: Writings by Black, Indigenous, and/or People-of-Color authors responding to specific American contexts of racialization such as slavery, imperial warfare, international and internal migration, naturalization law, religion, mass incarceration, and environmental injustice.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 ; Or standing above freshman level.

Repeat Credit: May be repeated up to 2 time(s) when instructor differs.

ENL 179 — Topics in Comparative Racial & Ethnic Literary Studies (4 units)

Course Description: Writings by Black, Indigenous, and/or People-of-Color authors responding to specific American contexts of racialization such as slavery, imperial warfare, international and internal migration, naturalization law, religion, mass incarceration, and environmental injustice.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y or COM 001 or COM 002 or COM 003 or COM 004 or NAS 005 ; Or standing above freshman level.

ENL 180 — Children's Literature (4 units)

This version has ended; see updated course, below. Course Description: Historical backgrounds and development of types of children's literature, folklore and oral tradition, levels of interest, criticism and evaluation, illustration and bibliography.

ENL 180 — Children's Literature (4 units)

Course Description: Historical backgrounds and development of types of children's literature, folklore and oral tradition, levels of interest, criticism and evaluation, illustration and bibliography.

ENL 181A — African American Literature to 1900 (4 units)

This version has ended; see updated course, below. Course Description: African American literature from the colonial period to 1900. Particular attention to the rapid development of the African American literary culture from a primarily oral tradition to various literary genres, including the slave narrative.

ENL 181A — African American Literature to 1900 (4 units)

Course Description: African American literature from the colonial period to 1900. Particular attention to the rapid development of the African American literary culture from a primarily oral tradition to various literary genres, including the slave narrative.

ENL 181B — African American Literature 1900-Present (4 units)

This version has ended; see updated course, below. Course Description: Major African American writers in the context of cultural history from 1900 to the present. Writers may include Richard Wright, Ann Petry, James Baldwin, Ralph Ellison, Paule Marshall, Toni Morrison, Alice Walker, Clarence Major.

ENL 181B — African American Literature 1900-Present (4 units)

Course Description: Major African American writers in the context of cultural history from 1900 to the present. Writers may include Richard Wright, Ann Petry, James Baldwin, Ralph Ellison, Paule Marshall, Toni Morrison, Alice Walker, Clarence Major.

ENL 182 — Literature of California (4 units)

This version has ended; see updated course, below. Course Description: Focus is on the diverse contributions to the rise of California literature. Reading of poetry, fiction, and essays. Emphasis on 19th- and 20th-century naturalists, turn of the century novelists, the Beats, and writers of the last two decades.

ENL 182 — Literature of California (4 units)

Course Description: Focus is on the diverse contributions to the rise of California literature from the 19th century to today. Reading of poetry, fiction, and essays. Includes Native American, Latino/a, and other Californian writers.

ENL 183 — Young Adult Literature (4 units)

This version has ended; see updated course, below. Course Description: Theoretical, critical, and literary issues informing the study and teaching of American young adult literature.

ENL 183 — Young Adult Literature (4 units)

Course Description: Theoretical, critical, and literary issues informing the study and teaching of American young adult literature.

ENL 184 — Literature & the Environment (4 units)

This version has ended; see updated course, below. Course Description: Historical and/or thematic survey of topics in writing about the environment.

Learning Activities: Discussion/Laboratory 3 hour(s), Term Paper.

ENL 184 — Literature & the Environment (4 units)

Course Description: Historical and/or thematic survey of topics in writing about the environment.

ENL 185A — Literature by Women Before 1800 (4 units)

This version has ended; see updated course, below. Course Description: Women's Writing in English before 1800; organized by period, place, genre, or theme.

ENL 185A — Literature by Women Before 1800 (4 units)

Course Description: Women's Writing in English before 1800; organized by period, place, genre, or theme.

ENL 185B — Literature by Women from 1800-1900 (4 units)

This version has ended; see updated course, below. Course Description: Women's Writing in English from 1800 to 1900; organized by period, place, genre, or theme.

ENL 185B — Literature by Women from 1800-1900 (4 units)

Course Description: Women's Writing in English from 1800 to 1900; organized by period, place, genre, or theme.

ENL 185C — Literature by Women after 1900 (4 units)

This version has ended; see updated course, below. Course Description: Women's Writing in English after 1900; organized by period, place, genre, or theme.

ENL 185C — Literature by Women after 1900 (4 units)

Course Description: Women's Writing in English after 1900; organized by period, place, genre, or theme.

ENL 186 — Literature, Sexuality, & Gender (4 units)

This version has ended; see updated course, below. Course Description: Historically or thematically focused intensive examinations of gender and sexuality in British and American literature.

ENL 186 — Literature, Sexuality, & Gender (4 units)

Course Description: Historically or thematically focused intensive examinations of gender and sexuality in British and American literature.

ENL 187A — Topics in Literature & Media (4 units)

Course Description: Group study of a topic centered on the relationships between literature and film or other moving-image media.

Prerequisite(s): ENL 110A or ENL 110B ; and consent of instructor.

Learning Activities: Seminar 3 hour(s), Film Viewing 3 hour(s).

ENL 188A — Topics in Literary & Critical Theory (4 units)

Course Description: Intensive examination of theories addressing a particular problem, topic, or question.

Learning Activities: Seminar 3 hour(s), Term Paper.

ENL 189 — Seminar in Literary Studies (4 units)

Course Description: Intensive, focused study of literature at an advanced level. May be organized by topic, author, period, movement, or genre. High participation.

ENL 192 — Internship in English (1-12 units)

This version has ended; see updated course, below. Course Description: Internships in fields where students can practice their skills. A maximum of 4 units is allowed toward the major in English. May be taught abroad.

ENL 192 — Internship in English (1-12 units)

Course Description: Internships in fields where students can practice their skills. A maximum of 4 units is allowed toward the major in English. May be taught abroad.

ENL 194H — Seminar for Honors Students (4 units)

Course Description: Preparation for writing an honors thesis in ENL 195H . High level of participation expected.

Prerequisite(s): ENL 110A or ENL 110B ; One advanced study course; admission to English Department Senior Honors Program in Literature, Criticism, and Theory.

Enrollment Restriction(s): Limited enrollment.

ENL 195H — Honors Thesis (4 units)

Course Description: Preparation of a thesis, under the supervision of an instructor. Students satisfying requirements for the general major or the teaching emphasis write on a scholarly or critical subject; creative writing students submit a volume of poems or fiction.

Prerequisite(s): ENL 194H .

Learning Activities: Independent Study 12 hour(s).

ENL 197T — Tutoring in English (1-5 units)

Course Description: Leading of small voluntary discussion groups designed to develop reading and writing skills and affiliated with one of the university's regular courses.

Prerequisite(s): Upper division standing and consent of Chairperson.

Learning Activities: Tutorial.
Repeat Credit: May be repeated 8 unit(s).

ENL 197TC — Community Tutoring in English (1-5 units)

Course Description: Field experience, with individuals or in classroom in instruction of English language, literature, and composition. Does not fulfill requirement for major.

Prerequisite(s): Upper division standing and a major in English; consent of Chairperson.

Learning Activities: Tutorial 1-4 hour(s).

ENL 198 — Directed Group Study (1-5 units)

This version has ended; see updated course, below. Course Description: Directed group study. May be taught abroad.

Prerequisite(s): ENL 003 or ENL 005F or ENL 005P or UWP 001 or UWP 001V or UWP 001Y .

ENL 198 — Directed Group Study (1-5 units)

Course Description: Directed group study. May be taught abroad.
Prerequisite(s): ENL 003 or ENL 003V or ENL 005F or ENL 005P or UWP 001 or UWP 001V or UWP 001Y .

ENL 198F — Student Facilitated Course (1-4 units)

This version has ended; see updated course, below. Course Description: Student facilitated course intended primarily for upper division students.

Prerequisite(s): ENL 003 or UWP 001 or UWP 001V or UWP 001Y ; consent of instructor.

ENL 198F — Student Facilitated Course (1-4 units)

Course Description: Student facilitated course intended primarily for upper division students.
Prerequisite(s): ENL 003 or ENL 003V or UWP 001 or UWP 001V or UWP 001Y ; consent of instructor.

ENL 198S — Directed Group Study (4 units)

Course Description: Group study closely tied to the texts and periods studied in ENL 163S. Investigations of historical sites, museums, galleries, and performances. May be taught abroad in London.

Prerequisite(s): ENL 163S (can be concurrent); and consent of instructor; ENL 163S required concurrently.

ENL 199 — Special Study for Advanced Undergraduates (1-5 units)

Course Description: Special study for advanced undergraduates.

ENL 199FA — Student Facilitated Course Development (1-4 units)

This version has ended; see updated course, below. Course Description: Under the supervision of a faculty member, an undergraduate student plans and develops the course they will offer under 098F/198F.

ENL 199FA — Student Facilitated Course Development (1-4 units)

Course Description: Under the supervision of a faculty member, an undergraduate student plans and develops the course they will offer under 098F/198F.

ENL 199FB — Student Facilitated Teaching (1-4 units)

This version has ended; see updated course, below. Course Description: STU FAC. Under the supervision of a faculty member, an undergraduate student teaches a course under 098F/198F.

ENL 199FB — Student Facilitated Teaching (1-4 units)

Course Description: STU FAC. Under the supervision of a faculty member, an undergraduate student teaches a course under 098F/198F.

ENL 200 — Introduction to Graduate Studies in English (4 units)

Course Description: Introduction to literary scholarship with special attention to the elements of professionalism and to different modes of literary investigation.

Prerequisite(s): Graduate standing.

Learning Activities: Seminar 3 hour(s), Term Paper/Discussion 1 hour(s).
Grade Mode: Satisfactory/Unsatisfactory only.

ENL 205 — Anglo-Saxon Language & Culture (4 units)

Course Description: The language and culture of Anglo-Saxon England; readings in Old English prose and poetry.

Learning Activities: Lecture 3 hour(s), Term Paper/Discussion.

ENL 206 — Beowulf (4 units)

Course Description: A study of the poem and the Heroic Age of Germanic literature.

Prerequisite(s): ENL 205 ; or the equivalent.

Learning Activities: Discussion 3 hour(s), Conference, Term Paper/Discussion.

ENL 207 — Middle English (4 units)

Course Description: Study of the phonology, morphology, syntax, and lexicon between 1100 and 1500 with investigation of the regional dialects; pertinent facts on both the internal and external linguistic history; intensive reading of texts.

Learning Activities: Discussion 3 hour(s), Term Paper.

ENL 210 — Readings in English & American Literature (4 units)

Course Description: Content varies according to specialty of instructor.

Prerequisite(s): Upper division course in area studied.

Learning Activities: Seminar 3 hour(s), Conference 1 hour(s).

ENL 225 — Topics in Irish Literature (4 units)

Course Description: Varied topics, including the 19th-century novel, contemporary Irish poetry, rise of the drama, or a study of a major author.

ENL 230 — Study of a Major Writer (4 units)

Course Description: Artistic development of one major writer and his intellectual and literary milieu.

Repeat Credit: May be repeated when writer differs.

ENL 232 — Problems in English Literature (4 units)

Course Description: Selected issues in the current study and critical assessment of a limited period or topic in English literature.

Repeat Credit: May be repeated when period or topic differs.

ENL 233 — Problems in American Literature (4 units)

Course Description: Selected topics for intensive investigation.

ENL 234 — Dramatic Literature (4 units)

Course Description: Historical introduction to dramatic theory; the genres of tragedy, comedy, and tragicomedy.

Learning Activities: Lecture 3 hour(s), Conference 1 hour(s).

ENL 235 — Theory of Fiction (4 units)

Course Description: Theories of fiction as they relate to the professional writer's practice of the craft. For students in the Creative Writing Program.

ENL 237 — Seminar for Writers (4 units)

Course Description: Varied topics in the study of literature and literary culture craft and poetics from the perspective of the writer/practitioner.

Learning Activities: Seminar 3 hour(s), Extensive Writing.
Repeat Credit: May be repeated 2 time(s) when focus differs.

ENL 238 — Special Topics in Literary Theory (4 units)

Course Description: Advanced topics in literary theory and criticism. Preparation and evaluation of research paper.

Prerequisite(s): ENL 237 ; or the equivalent.

Repeat Credit: May be repeated when topic and/or reading list differs.

ENL 240 — Medieval Literature (4 units)

Course Description: Studies of Medieval literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 242 — 16th-Century Literature (4 units)

Course Description: Studies in 16th-century literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 244 — Shakespeare (4 units)

Course Description: Studies in Shakespeare. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 246 — 17th-Century Literature (4 units)

Course Description: Studies in 17th-century literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 248 — 18th-Century Literature (4 units)

Course Description: Studies in 18th-century literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 250 — Romantic Literature (4 units)

Course Description: Studies in Romantic literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 252 — Victorian Literature (4 units)

Course Description: Studies in Victorian literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 254 — 20th-Century British Literature (4 units)

Course Description: Studies in 20th-century British literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 256 — Early American Literature (4 units)

Course Description: Studies in Early American literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 258 — American Literature: 1800 to the Civil War (4 units)

Course Description: Studies in American literature from 1800 to Civil War. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 260 — American Literature: Civil War to 1914 (4 units)

Course Description: Studies in American literature from the Civil War to 1914. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 262 — American Literature after 1914 (4 units)

Course Description: Studies in American literature after 1914. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 264 — Studies in Modern British & American Literature (4 units)

Course Description: Studies in modern British and American literature. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 270 — Studies in Contemporary World Literature (4 units)

Course Description: Emerging global, international or transnational techniques, theories, and individual works of contemporary world prose or poetry. Discussion, seminar reports, research papers.

Prerequisite(s): Graduate standing, consent of instructor, with preference given to those enrolled in the masters program in Creative Writing.

ENL 275 — Proseminar in Research Practices (2 units)

Course Description: Study of various practical and technical skills needed to perform research in literary studies. Materials to be selected by the instructor. Evaluation based on student projects that involve hands-on application of skills taught in the proseminar.

Learning Activities: Lecture/Discussion 2 hour(s).
Enrollment Restriction(s): Must have passed Departmental Preliminary Exam.

ENL 280 — Seminar in Research Practices (4 units)

Course Description: Study of various practical and technical skills needed to perform research in literary studies. Course materials to be selected by the instructor. Evaluation based on student projects that involve hands-on application of skills taught in the seminar.

Learning Activities: Lecture/Discussion 3 hour(s), Project.

ENL 285 — Literature by Women (4 units)

Course Description: Studies in literature by women and the theoretical approaches to literature by women. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 287 — Topics in Literature & Media (4 units)

Course Description: Study of a topic centered on film or other moving-image media. Course materials to be selected by the instructor. Preparation and evaluation of research papers.

ENL 288 — Prospectus Workshop (4 units)

Course Description: Training in writing the dissertation prospectus. Participation in group discussions of preparatory assignments and final proposal.

Learning Activities: Extensive Writing, Workshop 2 hour(s), Conference 1 hour(s).

ENL 289 — Article Writing Workshop (4 units)

Course Description: Training in preparing an article for publication. Participation in group discussions of article drafts.

Prerequisite(s): Consent of instructor.

Enrollment Restriction(s): Limited to 12 students; nomination for admission by Dissertation Director.

ENL 290 — Creative Writing: Special Topic (4 units)

Course Description: Writing that falls outside the generic confines of traditional genres (fiction, poetry, and nonfiction) or traditional workshop formats. Evaluation of written materials and individual student conferences.

ENL 290F — Creative Writing: Fiction (4 units)

Course Description: Writing of prose fiction. Evaluation of written materials and individual student conferences.

Prerequisite(s): Consent of instructor. Graduate standing, with preference given to those enrolled in master's program in Creative Writing.

ENL 290NF — Creative Writing: Non-Fiction (4 units)

Course Description: Writing of literary non-fiction, with emphasis on autobiography, biography, memoir, the occasional or nature essay, or other non-fiction prose narratives.

Prerequisite(s): Consent of instructor. Graduate standing; with preference given to those enrolled in the master's program in Creative Writing.

ENL 290P — Creative Writing: Poetry (4 units)

Course Description: Writing of poetry. Evaluation of written materials and individual student conferences.

ENL 298 — Directed Group Study (1-5 units)

Enl 299 — individual study (1-12 units).

Course Description: Individual study.

ENL 299D — Special Study for the Doctoral Dissertation (1-12 units)

Course Description: Special study for the doctoral dissertation.

ENL 391 — Teaching Creative Writing (2 units)

Course Description: Designed for new instructors of ENL 005F or ENL 005P ; discussion of ways to facilitate creative writing workshops and to respond to student manuscripts.

Prerequisite(s): Graduate standing; appointment as Teaching Assistant in the English Department.

Repeat Credit: May be repeated 1 time(s) for those teaching ENL 005 for the first time.

ENL 393 — Teaching Literature & Composition (2 units)

Course Description: Designed for new instructors of ENL 003 or the equivalent courses; discussion of problems related to teaching literature and composition to lower division students.

Repeat Credit: May be repeated 1 time(s) Course repeatable for those teaching ENL 003 for the first time.

ENL 396 — Teaching Assistant Training Practicum (1-4 units)

Course Description: Teaching assistant training.

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10.7: Dmitri Shostakovich - Symphony No. 5

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Esther M. Morgan-Ellis with Contributing Authors

Esther M. Morgan-Ellis with Contributing Authors
University of North Georgia via University of North Georgia Press

One of the most famous pieces of protest music in the European concert tradition might not have been a protest at all. Experts still debate the meaning of Shostakovich’s Symphony No. 5. Some believe that it was a harsh rejection of the totalitarian regime under which he lived and worked, while others are skeptical of this interpretation. Because Symphony No. 5 is a piece of absolute music (instrumental music that does not narrate an explicit story), it can be interpreted in many different ways. While this leaves the message in question, it has also permitted the work to have a powerful impact on generations of listeners.

Music in the Soviet Union

Dmitri Shostakovich (1906-1975) was born shortly before the 1917 Bolshevik Revolution, in which the longstanding Czarist regime was overthrown and the Soviet Union was born. The revolution brought hope to many Russians. Life under the Czars had been difficult for all but the aristocracy, with no chance for upward mobility and little freedom. The new government promised to improve the lot of Russia’s working class, bringing opportunities for education and economic success.

Soon, however, the Soviet Union ran into trouble. After the first decade, economic hardships led to dissatisfaction. At the same time, Joseph Stalin, who had become head of the government followed the death of Vladimir Ilyich Lenin in 1924, set out to consolidate his power. While the Soviet Union was meant to be governed by a committee, Stalin soon had absolute control. Part of his strategy was to deflect blame for the nation’s struggles onto others. In the 1930s, he held a series of public “show trials” in which prominent members of the government were convicted of crimes against the Soviet people. In this way he purged the government of all those who did not support him while positioning himself as an advocate of the people.

This is the environment in which Shostakovich finished his education and began his career. Shostakovich gained international fame at the age of 19, when his Symphony No. 1 was well received not only in the Soviet Union but in Europe as well. At first, unsurprisingly, the young composer produced music in support of the government. Many of his early works explicitly praised Soviet leaders and celebrated the revolution. It seems that he personally felt optimistic about his nation’s future.

The arts, however, faced difficult times under Stalin. Stalin believed in the power of artists to influence public opinion and encourage dissent. For this reason, he went to great lengths to keep creative workers under control. He did so through a combination of censorship, intimidation, and outright murder.

Stalin’s strategy for taking control of the music establishment was very clever indeed. He began in 1929 by reforming the nation’s music conservatories (prestigious schools that trained performers, conductors, scholars, and composers). His first move was to fire the faculty and replace them with partisans. Next he changed the admission standards, such that only students from working-class backgrounds were permitted to attend. These reforms were to be short lived, but he had made his point. When the professors were allowed to return to their posts, they understood that Stalin had total power over their careers (and lives) and were ready to fall into line.

In 1932, Stalin formed the Union of Soviet Composers (USC), a national organization in which all composers were required to participate. The purpose of the USC was to ensure that members only created music that upheld the values of the government and portrayed it in a positive light. Members were required to hold each other accountable and report any deviant behavior to the authorities. With all of the composers living in fear and spying on one another, Stalin was in a position to dictate the messages that were being broadcast in concert halls and opera houses.

All composers were required to uphold the doctrine of Socialist Realism . Exactly what constituted Socialist Realism was never made entirely clear, which is what gave the doctrine its power. Stalin always had the final say concerning any individual work, and his judgment alone could determine whether the composer had met the required standard or not. All artistic works, however, were expected to portray the communist revolution in a positive light. They were to be optimistic and uplifting. And they were certainly not permitted to criticize the Soviet Union or depress the consumer. Stalin also required that concert music be accessible to all citizens, and he preferred that it be based on popular or folk styles. If a musical work was condemned as formalist , then it had failed to achieve these goals, and the composer would face serious repercussions.

Shostakovich’s Condemnation

Following the success of his Symphony No. 1, Shostakovich continued to climb the ranks of Soviet composers. By the 1930s, he was certainly the best known and most influential. When he finally ran afoul of the government, therefore, it was a major event.

In 1934, Shostakovich premiered an opera (his second) entitled Lady Macbeth of the Mtsenk District . The opera was based on an 1865 novella by Nicolai Leskov that centered on Katerina, the neglected wife of a well-to-do merchant. In the novella, Katerina has an affair that ultimately leads to her and her lover committing a series of murders to protect their secret. After they are captured, convicted, and sent to a prison work camp, the man leaves Katerina for another female prisoner. Overcome with fury and grief, Katerina seizes him and leaps into an icy river, where they both perish.

In short, Lady Macbeth of the Mtsenk District featured a typical operatic narrative, full of romance and violence and ending in tragedy. The opera was a huge success in Leningrad and Moscow, performing to enthusiastic audiences for two years. Then, in 1936, Stalin himself attended a performance in Moscow. He had recently attended a performance of Ivan Dzerzhinsky’s opera Quiet Flows the Don —an overtly pro-government work with little artistic merit. (Ironically, much of the opera had been orchestrated by Shostakovich, who stepped in to help his less-adept colleague.) Stalin publicly demonstrated his support, giving the piece a standing ovation and insisting upon meeting the composer. Nine days later, he saw Lady Macbeth . This time, Stalin did not even stay to the end.

The next day, an article entitled “Muddle Instead of Music” appeared in Pravda , the official government newspaper. The article was unsigned, but readers understood that it spoke for Stalin himself. The article began by condemning Lady Macbeth in terms of subject matter and musical expression. The opera celebrated corruption, reveled in degradation, and lacked musical clarity. Next the author began to attack past works of Shostakovich, arguing that he had been working against the doctrine of Socialist Realism for many years. Finally, the article included a clear warning for the composer: If Shostakovich did not mend the error in his ways, he might find himself in serious trouble.

This anonymous article raises some questions. Why did Lady Macbeth come under condemnation two years after it had premiered and after it had been well received? How was it that many of Shostakovich’s pieces that had previously been accepted as “good” were suddenly denounced as “bad”? What was the purpose of this article? Although we can never know for sure, it seems likely that Shostakovich had simply become too successful—and therefore too powerful. With a single anonymous article, Stalin was able to put him in his place.

The article meant an immediate halt to all aspects of Shostakovich’s career. Performances of his work were cancelled and commissions were withdrawn. The composer himself called off the premiere of his Symphony No. 4, which had been about to take place. He lost all standing in the Union of Soviet Composers and was essentially blacklisted.

Shostakovich also feared for his life. In fact, for a month following the publication of the article he spent nights on his porch so that the police would not wake up his children when they came to arrest him. His fears were justified, for many other composers had already disappeared, having been taken away to prisons or work camps. However, the police did not come, and after a time Shostakovich’s thoughts turned to the revitalization of his career. In order to be readmitted to the music establishment, he needed to be formally rehabilitated. This process required a public apology and the creation of a new work that would demonstrate his contrition. With rehabilitation in mind, he began work on his Symphony No. 5.

Symphony No. 5

When Symphony No. 5 premiered in Leningrad in 1937, it was accompanied by another article, this time signed by the composer. The article was entitled “An artist’s creative response to just criticism.” In it, Shostakovich (or, more likely, a government agent writing on his behalf) admitted that he had strayed from the path illuminated by Socialist Realism but proclaimed that he had seen the error in his ways and desired to reform. He described Symphony No. 5 as an autobiographical account of his personal suffering and rebirth, culminating in a return to optimism. The symphony does indeed follow a general trajectory from darkness to light—the same trajectory as Beethoven’s Symphony No. 5, which clearly served as a model (see Chapter 7). The first movement is angsty and tormented. Its jagged melodies and sparse instrumentation seem to portray devastation and hopelessness. The brief second movement is a bizarre waltz. The third and fourth movements, however, bring the listener through catharsis to a possible triumph, and it is these that we will examine closely.

Movement III

According to reports, the audience wept throughout the third movement of Symphony No. 5.20 The music is certainly sorrowful. A dirge-like tempo combines with winding melodies in the minor mode to express an unmistakable despair. Sometimes the instruments imitate speech, as if they are attempting to put into words an emotion that cannot be spoken. Shostakovich’s orchestration is sparse: He includes only strings, harp, and a few solo winds, each of which take their turn with the melody.

This funeral chant by Pavel Chesnokov is typical of Russian Orthodox music.

However, there is another explanation for the listeners’ reaction. In this movement, Shostakovich captures the sound of Russian Orthodox funeral music.21 This would have resonated with his audience on several levels. To begin with, times were very difficult in the late 1930s, as the Soviet population was devastated by famine and disease. Everyone in the hall knew someone who had died, and everyone was mourning. At the same time, the government had abolished the Russian Orthodox religion and closed the churches. Nobody had heard this music for decades. As such, it also represented the past and all that had been lost. Despite its portrayals of agony, however, the third movement concludes on a note of hope. The final minutes are calm, and the closing chords are in the major mode.

Movement IV

The fourth movement begins with a terrifying crash, as pounding drums introduce a militaristic minor-mode theme in the brass. The music grows in excitement for several minutes before giving way to a period of calm. In this middle section, Shostakovich introduces a quote from a song he had composed years before using a text by the poet Alexander Pushkin. The title of the song is, in fact, “Rebirth,” and it describes the process of peeling away an outer layer accumulated over time to reveal the true substance beneath. After this interlude, the music regains momentum, building to a dramatic major-mode conclusion. It is here, however, that we must pause to debate what this music really means.

The closing passage of Symphony No. 5 features the ringing, high notes of trumpets, backed up by the entire orchestra. Played at a fast tempo, as it often is, the music is thrilling and triumphant. However, this approach to performing the coda seems to have derived from a misprint in the first published version of the symphony, which indicated a lively tempo of 188 quarter notes per minute. In reality, Shostakovich wanted this passage to be performed at a tempo of 184 eighth notes per minute, which, at less than half of the misprinted tempo, is quite slow. At this speed, the music sounds not triumphant but painful. The trumpet players agonize as they blast out their high notes, while the string players saw back and forth for minutes on end. One can literally hear the suffering of the musicians. When the symphony finally ends, it is with a sensation of exhaustion, not overcoming, as if the orchestra has been beaten into submission. Some commentators have described the passage as a false smile, put on because the authorities have required as much—but not a true representation of joy.

What does it mean?

The controversy over the tempo is only part of the story. For many decades, fans of Shostakovich have wanted to hear Symphony No. 5 as protest music and to believe that the composer was defying the government. They received confirmation in 1979, when Soviet musicologist Solomon Volkov published a book entitled Testimony . Volkov claimed that he had sat with Shostakovich during his final weeks and written down the composer’s reminiscences. In Testimony , Volkov confirmed that Shostakovich had always stood in opposition to the Soviet regime and that Symphony No. 5 was indeed meant to protest its oppressive rule. However, Volkov was almost immediately discredited by Shostakovich’s wife, who said that he and her husband were hardly even acquainted. Few continue to take his account seriously.

The response following the concert was also mixed. Some critics did not feel that Shostakovich had successfully communicated the personal metamorphosis outlined in his article. The third movement, they felt, was simply too sad, while the fourth movement failed to offer the transformative rebirth that was promised. However, the audience was thrilled, and gave the symphony a thirty-minute standing ovation. Perhaps for this reason, the government officially accepted Shostakovich’s apology and declared him rehabilitated. He was able to return to his work—although with the knowledge that Stalin could end his career (and his life) if he failed to keep in line.

The controversy surrounding Symphony No. 5 is possible because of its status as absolute music. On the one hand, it is just a symphony—just music, just sound. It is titled with a number, and the movements are marked only with their tempos. It is therefore impossible to prove that the music is about one thing or another. The symphony’s various contexts, however, which include its role as Shostakovich’s rehabilitation piece, the accompanying article, the musical references, and its expressive language, give us a great deal of material to use in debate. The symphony must be about something. To this day, however, noone has conclusively proven what Shostakovich meant to communicate with his Symphony No. 5.

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The UC Davis graduate creative writing program is a two-year master of fine arts degree rooted in the study and creation of literature that reaches toward the other arts with the goal of presenting students with a wide range of aesthetic approaches and models for being a writer. Students may specialize in fiction, poetry, nonfiction, as well as multi‐genre, multi‐media, or hybrid forms of ...
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Houston, a faculty member at UC Davis since 1999, became the director of the program in 2001. Today, the university offers a master's degree in English with an emphasis on either fiction or poetry; the classes are led by the nine creative writing faculty members.
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The University Writing Program offers a range of courses for undergraduate and graduate students.Our lower division courses prepare and reinforce students' skills for academic writing that they will do as undergraduates. Our pre-professional and writing in the disciplines courses, which satisfy the upper-division composition requirement, help students practice the kinds of writing they will do ...
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Creative Writing: Fiction. In this informal workshop, you will learn how to write an effective piece of short fiction. Having been introduced to key elements like plot, character, dialogue, setting and so on, you will compose your own short story in three stages, sharing each installment with the group as you go. You will also read and discuss ...
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The creative writing program, part of the College of Letters and Science's English department, will offer a Master of Fine Arts degree in creative writing starting in the 2019-2020 academic year. "Our graduate program in English is ranked among the top 20 in the country by U.S. News and World Report," said J.P. Delplanque, Interim Vice Provost of Graduate Education and Dean of Graduate ...
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The UC Davis graduate creative writing program is a two-year master of fine arts degree rooted in the study and creation of literature that reaches toward the other arts with the goal of presenting students with a wide range of aesthetic approaches and models for being a writer. Students may specialize in fiction, poetry, nonfiction, as well as multi‐genre, multi‐media, or hybrid forms of ...
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For many years, the leading designers defining visual communications in Moscow and beyond have been graduates of the British Higher School of Design, based at the Artplay centre. The centre is also home to the Moscow Film School, the MARCH School of Architecture, and the computer graphics college Scream School, whose former students have played an important role in the rising standard of ...

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2023-2024 General Catalog

ENL 003 — Introduction to Literature (4 units)

ENL 003A — Writers' Workshop (2 units)

ENL 003A — Writers' Workshop (2 units)

ENL 003V — Introduction to Literature (4 units)

ENL 003V — Introduction to Literature (4 units)

ENL 005F — Introduction to Creative Writing: Fiction (4 units)

ENL 005NF — Introduction to Creative Writing: Non-Fiction (4 units)

ENL 005P — Introduction to Creative Writing: Poetry (4 units)

ENL 010A — Literatures in English I: To 1700 (4 units)

ENL 010A — Literatures in English I: To 1700 (4 units)

ENL 010B — Literatures in English II: 1700-1900 (4 units)

ENL 010B — Literatures in English II: 1700-1900 (4 units)

ENL 010C — Literatures in English III: 1900 to Present (4 units)

ENL 010C — Literatures in English III: 1900 to Present (4 units)

ENL 040 — Introductory Topics in Literature (4 units)

ENL 040 — Introductory Topics in Literature (4 units)

ENL 041 — Introductory Topics in Literature & Media (4 units)

ENL 041 — Introductory Topics in Literature & Media (4 units)

ENL 042 — Approaches to Reading (4 units)

ENL 042 — Approaches to Reading (4 units)

ENL 043 — Introductory Topics in Drama (4 units)

ENL 043 — Introductory Topics in Drama (4 units)

ENL 044 — Introductory Topics in Fiction (4 units)

ENL 044 — Introductory Topics in Fiction (4 units)

ENL 045 — Introductory Topics in Poetry (4 units)

ENL 045 — Introductory Topics in Poetry (4 units)

ENL 051 — Hot Bars, Supreme Lyrics, & Rhymes for Days: Hip Hop as Poetry (3 units)

ENL 052 — Pop Culture Shakespeare (3 units)

ENL 053 — Youth in Revolt (3 units)

ENL 054 — Literature, Health, & Medicine (3 units)

ENL 055 — Literary Animals (3 units)

ENL 056 — Speculative Fictions (3 units)

ENL 057 — Literatures of Climate Change (3 units)

ENL 059 — Racial Imaginaries (3 units)

ENL 072 — Introduction to Games (4 units)

ENL 092 — Internship in English (1-12 units)

ENL 092 — Internship in English (1-12 units)

ENL 098 — Directed Group Study (1-5 units)

ENL 098 — Directed Group Study (1-5 units)

ENL 098F — Student Facilitated Course (1-4 units)

ENL 098F — Student Facilitated Course (1-4 units)

ENL 099 — Special Study for Undergraduates (1-5 units)

ENL 100F — Creative Writing: Fiction (4 units)

ENL 100FA — Creative Writing Advanced Fiction (4 units)

ENL 100NF — Creative Writing: Non-Fiction (4 units)

ENL 100P — Creative Writing: Poetry (4 units)

ENL 100PA — Creative Writing Advanced Poetry (4 units)

ENL 105 — History of the English Language (4 units)

ENL 105 — History of the English Language (4 units)

ENL 106 — English Grammar (4 units)

ENL 106 — English Grammar (4 units)

ENL 106P — English Grammar Practicum (2 units)

ENL 107 — Freedom of Expression (4 units)

ENL 107 — Freedom of Expression (4 units)

ENL 110A — Introduction to Literary Theory (4 units)

ENL 110A — Introduction to Literary Theory (4 units)

ENL 110B — Introduction to Modern Literary & Critical Theory (4 units)