Books by Language Additional Collections. Trash culture : popular culture and the great tradition Item Preview. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! In television, movies, magazines, and advertisements we are exposed to many of the same stories as those found in the great books of Western literature, but we have simply been encouraged to look at those stories differently. In Trash Culture, Richard K. Simon examines the ways in which the great literature and cultural work of the past has been rewritten for today's consumer society.
Trash Culture concludes that the great books are alive and well, but simply hidden from the critics.
Trash culture: Popular culture and the great tradition: | Richard Keller Simon | The Co-op
Case Studies in Contemporary Criticism. This course is designed to ground you in the histories, theories, and practices of writing instruction and thereby: 1 prepare you to teach your own classes at SDSU and beyond, and 2 introduce you to issues and debates that have shaped and that currently shape the profession.
- Introduction in: Evolution and Popular Narrative?
- The Texas Indians (Centennial Series of the Association of Former Students, Texas A&M University)?
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To serve these aims, the readings, discussions, and writing assignments will address a variety of practical and theoretical concerns. The former include assignment and course design, assessment, and classroom pedagogies; the latter, theories of rhetoric and composition, as well as the social and institutional contexts that inform them. Written work for the course will include two short responses to the readings pages , one research project 15 pages that investigates an area of writing instruction of interest to you, and a syllabus for English that includes a rationale 5 pages for the sequence of reading selections and writing assignments.
I recommend, too, that you keep a journal to record your thoughts on issues that arise in this class and in those you are teaching. In addition to class discussion, oral work will include two brief presentations: one to teach an essay from Reading Popular Culture and one to report progress on your research project. This course has three objectives: 1 to inform you of the histories and theories of rhetoric; 2 to afford you the opportunity to respond to these histories and to apply, adapt or challenge these theories in ways that will increase your understanding of western culture past and present; and 3 to expand your repertoire of interpretive strategies.
To pursue these objectives, we will study a variety of texts from a range of historical periods—from the classical period to the present day—that focus upon problems that have long beset those who think about communication and its relation to culture. Written work for the course will include four essays: one of 4 pages, two of 7 pages, and one of 12 pages—all of which will respond to course readings.
In addition to class discussion, oral work will include two presentations. This course will explore these and other questions: What does it mean to be visually literate? How does the role of the visual that which we see in our day-to-day lives affect the ways we process our thoughts and, in turn, develop our social, political, historical, racial, and gender-related attitudes about the things we see? What is New Media? This course will deepen your practice of the craft of fiction or help you establish one by asking you to face the questions that are timelessly being asked by practicing writers.
How should I approach my material? Am I ready to write the story I want to tell? While we will workshop original student fiction regularly, we will do much more. In each of the units shown in the schedule, readings both example fiction and craft essays will frame our conversations and ask you to consider your writing from new angles. The pieces you workshop are not limited to those you produce with such prompts, and I anticipate significant variety in the form, length, and texture of your writing collectively as a class.
My primary goal is part for you to create product , part to learn process , and therefore I will stress the fundamentals. This course foregrounds student experimentation with patterns that build poems, in particular, form. Not only will students become familiar with traditional received forms and stanza structures, they will also learn about and apply the constraints of contemporary forms. Throughout the semester, large-group response workshops will give students experience sharpening their peer feedback skills.
The Tao of Trash
Students will also deepen their revision skills by iterating drafts to create exceptional poems, culminating in the design and execution of a format a chapbook. We will also practice strategies and techniques for reading, writing, revising, responding to, and editing CNF texts. In this course, you will develop your ability to think critically, speculatively, and imaginatively. Not only will you build an appreciation for the art of creative nonfiction, you will strengthen your ability to write it. Students will learn the fundamentals of screenwriting: good format, believable and imaginative stories, solid characterization, and well-turned narrative arcs.
The class will read outstanding screenplays as craft examples, adapt a literary work to learn format, then draft, workshop, revise, and expand original scripts or adaptations. At the end of the course, students should have either a complete and polished first act of a feature script they can complete on their own time, or a fully-realized script for a short film or series episode. This course assumes that professional writing is contextual, dynamic, and learnable-renewable; it is grounded in the belief that writing as a professional and technical thinker extends beyond the boundaries of genre.
As a result, this course situates you, the student, in the role of a writing researcher so you can learn both how to write in professional contexts and about writing in professional contexts. This course is designed to teach a generalized rhetorical capacity that enables you to successfully adapt to new rhetorical workplace writing situations. This course emphasizes inquiry, research, and problem-solving skills as they relate to professional writing contexts.
Inquiry questions include: How does writing work in professional settings? How do people use writing in professional settings?
What are problems related to professional writing and how can they be solved? A hands-on, semester long introduction to literary publishing centered on, but not limited to, the production of SDSU's literary journal Oakwood , founded in Our work will involve soliciting, editing, producing, and promoting the magazine, as well as an overview of the publishing industry and an opportunity to craft a publishing resume.
This class will give you demonstrable experience with workplace practices applicable in fields from editing to corporate communications. It will be conducted as an independent study course, though we will arrange for common meeting times based on the schedules of those involved. This will be a reading-intensive course designed both to introduce students to several Old Norse texts and to explore the culture s in which those texts were inscribed.
Medieval literature plays host to a broad spectrum of monstrous figures ranging from the more familiar dragons, monsters, dwarves, and trolls to rather obscure draugar, haugbuar, and berserkers, to name a few. The purpose of this reading-intensive seminar is to expose students to a cross section of particularly strange works which revolve in whole or in part around supernatural characters; to theorize the narrative, cultural, religious, and political functions that these characters serve; and to answer the question if only tentatively of why fantasy fiction whose roots are firmly fixed in the Middle Ages continues to engage the attention of 21 st -century authors, scholars, and students alike.
Eighteenth-century Britain was a nation in motion. Modes of transportation were improving; fashionable destinations like Bath and London served as sites of conspicuous consumption and lavish display; the Grand Tour symbolized good breeding and a well-rounded education for upper-classed young men—and was undertaken by many women as well; England was asserting its influence as a colonial power throughout the globe.
This increase in movement, coupled with the growth of the literary marketplace, resulted in numerous published accounts of travel—or travel writing. At the same time, the novel was emerging as a new genre, frequently entertaining its readers with descriptions of fictional journeys. This semester, we will read fictional and non-fictional accounts of travel from the long eighteenth century, along with a selection of recent critical responses to these texts.
We will consider travel writing and the novel as separate genres with distinct characteristics, but we will also explore the influences that these two genres exerted upon one another. As we do so, we will discuss where—and whether—we can draw a strict dividing line between fiction and non-fiction.
Throughout the semester, we will be attentive to the ways in which accounts of travel reveal cultural attitudes toward gender, race, ethnicity, and social class. In his preface to Pamela , the eighteenth-century's most popular novel, Samuel Richardson insists that the purpose of his fiction is not only to "Divert and Entertain," but also to "Instruct, and Improve the Minds of the Youth of both Sexes. At the same time, however, eighteenth-century literature represents many characters who break the rules these writers were attempting to establish, characters who act up, act out, and misbehave.
This semester we'll read about a number of these eighteenth-century troublemakers, including adulterers, philanderers, prostitutes, thieves, murderers, cross-dressers, and—a favorite among eighteenth-century audiences—reading women. Throughout the semester, we will be attentive to the ways in which these accounts of unruly behavior both reveal and challenge eighteenth-century attitudes toward gender, race, ethnicity, and social class.
Laura J. Rosenthal, ed. Poetry was the most widely circulated and most frequently published literary form in eighteenth-century England, and much of the poetry from this period was written by women.
- La parabola dei ciechi. Uno sguardo alla psicopatologia con gli occhi di un terapeuta della Gestalt (Psicoterapia della Gestalt) (Italian Edition);
- American Literature?
- Course contents.
- History, Nostalgia, and the Criminality of Popular Culture | The Georgia Review?
For many women writers, poetry served as a medium for the exploration of subjects that included religion, politics, social life, education, marriage, motherhood, friendship, work, solitude, and nature. The significance of this poetry lies not only in its artistry, but also in its influence. Until very recently, however, women poets from this period have been rarely studied and largely excluded from the canon of eighteenth-century poetry.
Alexander Pope. Selected Poetry. Oxford University Press, Paula R. Backscheider and Catherine Ingrassia, eds. Johns Hopkins University Press,