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Johnson, Jeff T.: Filmography: Three Movie downloads & Other Poems and Trouble Songs: A Musicological Poetics [Advisor: Mark Bibbins]
Hughes, Joe: Monk: Poems and Film, Poetry, Memory: A Meditation on Guy Maddin's "Brand Upon the Brain!" [Advisor: Jennifer Michael Hecht]
Copp, Courtney: Dead Bluebird (A manuscript) and The function of space in Magical Truth [Advisor: Jeffery Renard Allen]
Well, he complete have into Harvard, and already the poem hold give the come-on considerable attention. The chair of Exeter, it is alleged, carries it in king wallet; it was read clearly to the entering class at Harvard last June; and the graduating type of a Unseasoned England training program trill it at convocation."
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Hamilton, Caroline: Hold Tight To What I Give You: A Collection of Personal Essays and Social Class as Plain in Edith Wharton's Age of Innocence, F. Scott Fitzgerald's The Great Gatsby, and Jonathan Frazen's Freedom: Findings Project [Advisor: Susan Cheever]
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Draitser, Eric: Red Black White and Mayakovsky: Rationalism, Poetics and Politics [Advisor: David Lehman]
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The AP English Belles-lettres and Composition exam is created with two sections, the first transforming into a 55-question a large number of choice portion worth 45% of the total test grade. This section tests your strength to read drama, verse, or prose fiction excerpts and topper questions about them. The second section worth 55% of the total score requires essay responses to three questions, demonstrating your strength to analyze donnish works: a poem analysis, a prose fiction passage analysis, and a concept, issue, or element analysis of a erudite work.
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Norelli, Alexander: Images At an Exhibition: Poems and Raymond Roussel, Bridge-Service provider Uncommon: Lore Project [Advisor: David Lehman]
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Nails, Jennifer: The Alphabet: A interior grade novel and When Violence Heals: Findings Project [Advisor: David Levithan]
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This study introduces a legend of erudite responses to isolated texts, ancient and new-fashioned, of your age of Petrarch to the age of Milton. Whether continental sage or English poets, the authors whom I consider share an abiding belief that the imagination is the right vehicle to access the without one irretrievable past, and that absent texts in many cases can go to practical uses. Bringing together the work of textual critics, bibliographers, and well-read students, the introduction evaluates available methods of studying reduced texts and proposes an integrated framework because of further research. The four chapters that pursue provide four distinct answers to the question, what make ready early coincident learner and poets make out of isolated texts? The first chapter finds Petrarch in the boy's
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Wilson, Alex: Beasts of the Tillage: A Novel in Growth and The Exterior as a Window to the Constitutional: Essay Project [Advisor: Ann Hood]
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Smith, Faith: Writing Thesis: Dear in the Breakage and Scholarship Thesis: Nuala O'Faolain: One Life, Two Memoirs -- Lessons designed for Middle age Women and Wanting Writers [Advisor: Susan Cheever]
Compton, JT: One America: First Section of a Novel and Dystopian Fiction: A Selective History and Grave Analysis: Belles-lettres Project [Advisor: Stephen Wright]
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Dream Songs, specifically the poets construction of a literary alter ego, Crabby Henry. Through the mouth piece that is Henry, Berryman is completely ready to own up sorts of vulgar impulses without collapsing the work into self-centered memoir. In providing the reader with a voice that learns voices, Berryman uses her / his vocal manifestation in the poem to assert his personal identity, while also expanding the compass of the self. Similarly, Donahue claims that the boy's direction during writing Purple Schedule is usually to erect a myth of surrogate selfhood, stating, My have no of legend the dramas first cause (23).
Schein, Lorraine: Fairies and Traditions, Cities and Boxes: A Collection of Poems and Poetry and Comics: Scholarship Project [Advisor: Laurie Sheck]
The aim of this mixed creative-critical monitor is twofold: often to explore together some of the older works of playful or 'ludic' modish classics over various languages, and to develop our intelligence of style and form by practising various forms of writing that are themselves ludic: revolutionary imitation, irony, transposition distance from one style and form to another, quick-witted translation. In play, we will stumble on, the abuttals between the 'ground breaking' and the 'dense' turns unclear. The mortal is generally taken by a combined students from a various choleric and resourceful writing MAs, also as as by students in Belles-lettres and Philosophy. On the 'disparaging' side, the monitor traces the evolution of leading postmodernist styles and themes, before all else ludic ones, back to their origins in Dostoevsky, Joyce, Kafka, Borges, and Nabokov. Using these enormously dominant authors as a place to begin, we read a wide array of ludic authors, passing back and to between languages, countries, and character. In a week we usually tail two authors. In previous years we have studied, during example, Dostoevsky against Nabokov, Kafka against Borges, Perec against Queneau and Calvino, Carter against Coover, Muldoon against Heaney, Pynchon against Barthelme, and Ashbery against Mallarme. There is also a strong penetrating part the monitor, you will be hopeful to explore the resigned theory of aesthetic play in Kant, Schiller, and Nietzsche, and eventually set up in Huizinga and Derrida. On the 'distinctive' side in previous years we have, as example, read Kafka's short tales against Borges's re-writings analysts, tried to write like Kafka or Borges, turned a Kafka story in the Dostoevsky paragraph or a Nabokov poem, explored the various translations of these authors, and played with re-translating them. We have taken a story by Coover and re-written getting a sestina, two types of sonnet, and a villanelle. In exposure all this, we are asking fundamental questions not really just about play but also about style and form, no matter how they shape essence and make possible selected different types of writing and thinking. We are also returning to the way in which information was studied, and revolutionary writing engendered, forward the originality of professional academic criticism and resourceful writing groups in the twentieth century. All students will be confident to try their hand at parodying and imitating the texts we are studying, though this is not really compulsory. Final assessment often requires the sort of a 5000 word condemning essay or of a combination of an explicit selection and a dense essay, to make up 5000 words.