Faculty of Arts & Sciences

This workshop is a continued exploration of writing for the stage. Students will be encouraged to excavate their own voice in playwriting. They will examine and attempt multiple narrative strategies and dialogue techniques. They will bolster their craft of playwriting through generating short scripts and a completed one act. Readings will include significant contributors to the theatrical form such as Ibsen and Beckett as well as contemporary dramatists such as Annie Baker, Caryl Churchill and Sam Shepard.

Open by application to both undergraduates and graduates. Class lasts 3 hours and includes the study of poetic practice in conjunction with the discussion of student work.

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work.

This workshop explores the principles of literary adaptation from short fiction to film. By viewing films and reading their screenplays and the source stories , we will consider what makes for a successful adaptation from print to film. We'll spend the majority of the class critiquing students' adaptations - either the first act of a feature-length script, or a complete short script (under thirty pages).

By guided reading, classroom discussion, one on one conference, and formal and structural experimentation, members of the Advanced Poetry Workshop will look to hone, deepen, and challenge the development of their poetic inquiry and aesthetic. Students will be required to write and submit one new poem each week and to perform in-depth, weekly critiques of their colleagues' work.

An intense seminar for those interested in understanding the changing role of journalism and in learning the art of reporting and writing narrative stories. The course is intended for those contemplating careers as journalists or because they want a better sense of how journalism really works. Coursework will include two narrative articles that are ready for publication. Readings will include some of the best examples of modern journalism, from magazine features by authors including Gay Talese to multimedia narratives such as The New York Times' "Snow Fall." The course offers in depth analysis of what makes a compelling narrative in feature, explanatory and investigative journalism and exposes students to journalism from New York Times, The New Yorker, Buzzfeed, Wired, and Vice Media, among others. Multimedia journalism, including news documentaries, is also covered.

This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Kenneth Lonergan, Martin McDonagh, Suzan Lori-Parks, and Sarah Ruhl as well established work from Anton Chekhov, Sarah Kane, and Harold Pinter.

This class introduces the screenplay, from the Hollywood blockbuster to the indie sleeper. Students will learn the basics of screenwriting by reading scripts and viewing the resulting films, focusing on dramatic structure, character development, tone, dialogue, and the other aspects of film determined by the writer. Students will develop their own feature-length screenplays-which we'll workshop from the earliest stages-and finish the semester with a first act and the tools, knowledge, and skills necessary to continue screenwriting.

Whether in essay, memoir or reportage, creative nonfiction employs many of the same literary techniques as fiction: narrative structure, character development, scene-setting, extended dialogue, emphasis on voice and point of view. In addition to workshopping student writing, we discuss examples of the genre by writers such as Virginia Woolf, William Maxwell, Joan Didion, and John McPhee. Assignments include two 10-15 page narratives, an extensive revision, and typed critiques of classmates' work.

In any long-form nonfiction (essay, memoir, travelogue, journalism), there are countless ways of structuring and telling a true story. In this workshop, students examine various techniques for giving nonfiction material dramatic and suspenseful energy: chronology, argument, juxtaposition, retrospection, evolving revelation. In addition to workshopping student writing, we discuss examples of the genre by writers such as Julia Blackburn, Truman Capote, Spalding Gray, and Janet Malcolm. Assignments include two 10-15 page narratives, an extensive revision, and typed critiques of classmates' work.

Open by application to both undergraduates and graduates. Class includes the discussion of literary texts as well as work written by students.

An introduction to fundamental aspects (technical and conceptual) of writing fiction, beginning with short exercises and moving toward the completion and revision of original work. Readings include Munro, Welty, Diaz, Lahiri, and others, and explore how practicing writers negotiate character, narrative structure, setting, voice, etc. Individual reading assignments are also devised on a per project basis. As the term continues, increasing amounts of time are devoted to the discussion of student work.

Writers will become familiar with more sophisticated aspects (technical and conceptual) of writing fiction, beginning with short exercises and moving toward the completion and revision of original work. Readings include Munro, Welty, Diaz, Lahiri, and others, and we will explore how practicing writers negotiate character, narrative structure, setting, voice, etc. Individual reading assignments are also devised on a per project basis. As the term continues, increasing amounts of time are devoted to the discussion of student work. Students in this course will be expected to revise work often and to a very high standard.

A seminar/workshop. Readings to be announced.

Writing fiction requires risk-taking and rigor: the ability to dream while staying awake to subtleties of dialogue, description, character, structure, point of view, and voice. The only way to learn to balance all these elements is to immerse yourself in reading and writing - it's a lifelong pursuit, and we can continue it here. The class will include discussion of an eclectic range of published stories; much writing and revision; and close reading of and written response to one another's work.

An introduction to the short story with emphasis on amplifying the idea of what a story can be. We will look at a range of contemporary narrative strategies that exploit--in the best sense of the word--voice, character, place, logic, and (always) language. Readings will include Barry Hannah, Tillie Olsen, Leonard Michaels, Mark Richard, Mary Robison, Yasunari Kawabata, and selected poets. Short assignments will aim to strengthen writing at the sentence level, and suggest personal ways into the largest concerns. Students should expect to complete and revise two stories, and be prepared to discuss the work of colleagues each week.

An introduction to major works in English literature from Beowulf through the seventeenth century, the course will explore various ways that new literatures are created in response to cultural forces that shape poets, genres, and group identity. We will hone close reading skills, introduce rhetorical tropes, and develop techniques of critical writing.

Across the period 700-1700 the shapes of British culture were absorbed from different centers of Western Europe. When these cultural forms arrive in Britain, they meet and mix with established cultures. This course will delineate the principal cultural forces (e.g. religious, political, social) that shaped England in particular. We will look to the ways in which those vibrant yet opposed forces find expression in the shape, or form, of literary works.

A study of major works of English literature from 700-1700, with particular attention to the relationship between literary forms and the cultural changes brought by war, commerce, and religion. Key texts include Beowulf, selections from the Canterbury Tales, Sir Gawain and the Green Knight, Doctor Faustus, and The Pilgrim's Progress. We will learn to read Middle English aloud, analyze poetic language, and construct cogent essays.

Ways of reading and ways of hearing poetry (mostly short poems) in English from the Renaissance to the present, with a particular focus on kinds of poems: elegies, odes, meditations, epigrams, palinodes, landscapes, puzzles, and some modern kinds without names, by Shakespeare, Bishop, Dickinson, Hughes, Armantrout, Ashbery, Muldoon, Whitman, Keats, Yeats, O'Hara...

An introduction to the fundamentals of Lyric poetry.

This course is a general introduction to reading poetry, with a focus on narrative poetry. We begin with Milton's epic, Paradise Lost, and then turn to eighteenth-century mock epics and verse narratives by Pope and Swift, and work by the Romantics, particularly Wordsworth, Coleridge, and Keats. The course will end with Byron's satiric masterstroke, Don Juan, and TS Eliot's toppled epic, The Waste Land.

This course will examine the uncanny, the abject, and the ghostly as they appear in American literature, and consider their formal implications as well as their relationship to the major cultural and social issues of the time. Authors may include Louise Erdrich, William Faulkner, Charlotte Perkins Gilman, Washington Irving, Henry James, Maxine Hong Kingston, Herman Melville, Toni Morrison, Bharati Mukherjee, Flannery O'Connor, and Edgar Allan Poe.

During the last 50 years, the United States has received immigrants from Latin American, Caribbean, African, and Asian countries in contrast to previous waves of immigration, which were primarily from Northern or Eastern Europe. This course will first explore classic American immigrant narratives and then focus on contemporary texts (by writers such as Teju Cole, Junot Diaz, Chimamanda Adiche) taking on a comparative approach that is rooted in the history of immigration in American culture.

This course surveys American literature from the colonial period to the Civil War. We will read accounts of early contact, narratives of captivity and slavery, sermons, autobiographies, poems, and novels. Authors will include Winthrop, Rowlandson, Franklin, Douglass, Hawthorne, Melville, Stowe, Thoreau, Whitman, and Dickinson.

In this course we will analyze representations of cities and Black urban modernity in Afro-diasporic literature of the twentieth and twenty-first century. We will trace the transnational itineraries of Black modern subjects in texts by W.E.B Du Bois; Nella Larsen, Claude McKay, James Baldwin, C.L.R. James, Zadie Smith, and Teju Cole. Placing special emphasis on the global hubs of London, Paris, New York, Marseilles, and Cape Town, we will ask what makes these former imperial sites Black global cities?

This seminar looks at poets from two turbulent eras: England in the Age of Revolution (1789-1824) and America in the 1950's and '60s. During those times poetry was seen as a vital medium for change-but how? And why? Our case studies will be William Blake and Allen Ginsberg, though we'll also read widely in the work of their contemporaries: Romantics, particularly Keats and Shelley; and Americans, such as O'Hara, Bishop, Lowell, and Plath. We'll also look at a few important texts in between, like Rimbaud's Season in Hell.

This course surveys work by some of the most popular dramatists of the past decade, with particular attention to language, theatricality, and history. Writers may include Annie Baker, Amy Herzog, Jackie Sibblies Drury, Sarah Ruhl, Quiara Alegria Hudes, Lynn Nottage, and Will Eno.

This course will examine aspects of the literary traditions of the indigenous peoples of North America. Students will read translations of traditional stories and songs as well as poems, novels, and stories by contemporary Native American and Canadian writers. The course will emphasize the diversity of the literature of North America from pre-Columbian times to the present, and will pay particular attention to the ways in which English has been employed and resisted as a literary language. Authors may include N. Scott Momaday, Leslie Marmon Silko, Louise Erdrich, Thomas King, Sherman Alexie, Tomson Highway, and Eden Robinson.

A critical examination of Douglass' and Lincoln's speeches and other exemplary writings from Lincoln's 1838 Lyceum Address to Douglass's 1894 "Lessons of the Hour." We explore Douglass' and Lincoln's respective rhetorical practices in relation to their politics.

This is a survey course of Shakespeare plays.

Historical and literary narratives of reading; texts by Cervantes, Richardson, Franklin, Sterne, Flaubert, Ellison, and Bradbury, together with research exercises in Harvard library and museum collections.

This course will examine the aesthetics and politics of the first Modern African American cultural movement, known today as the Harlem Renaissance. In our readings of key literary texts by authors such as Alain Locke, Jessie Fauset, Zora Neale Hurston, Eric Walrond, Langston Hughes, Claude McKay, Nella Larsen, and Jean Toomer, we will discuss both the national and global contexts of so-called "New Negro Writing" and focus on debates surrounding representation, "respectability" and racial authenticity.

Written a century apart, the poems of Seamus Heaney and Thomas Hardy create an urgent call and response between earth and under-earth. The poets share metrical virtuosity, compressed lyric forms, the unfolding of personal history within public crisis and transformation, and the recognition that the acuity of sentience - the daily practice of exquisitely precise perceptual acts - is the ethical center of our brief stay above ground.

A look at the complex ways in which writers represent their characters' thought in texts by Austen, Flaubert, James, Tolstoy, Chekhov, Giovanni Verga, and Woolf. More broadly, traces the development of stream-of-consciousness, from Austen's incipient mastery of free indirect style, through Flaubert's more sophisticated use of it, to Woolf's full-blown inner monologues, seeing this development as not merely a fact of English and American literature, but as a phenomenon of world literature and an element of our modernity.

This course attends to the work of several American poets whose careers span much of the second half of the 20th century. Poets include Elizabeth Bishop, James Wright, Randall Jarrell, Adrienne Rich, A.R.Ammons, Frank O'Hara, John Ashbery, and others.

Studies systematically the arc of Samuel Beckett's literary career, with particular emphasis on Beckett's stage and video plays. The course proposes the idea of a "stable habitation for the Self" as one way of understanding both Beckett's thematic matiere and his astonishing aesthetic innovations in three media: stage, page, and video screen. Video resources supplement reading and discussion of texts, and local productions of the plays are studied when available.

With Heaney's death, the canon of his poetry has closed. Using Opened Ground and selections from the later poetry, we will investigate the ways into Heaney's verse, from the political to the autobiographical to the symbolic.

This seminar explores the relationship between literary and scientific experiment during the Restoration and the eighteenth century. Our readings, by authors such as Milton, Fontenelle, Pope, Hume, Diderot, and Mary Shelley, will be paired with hands-on activities: while reading Swift's Gulliver's Travels, for example, students will have the opportunity to use microscopes and telescopes from the period. Throughout, we will seek to understand how writers of various sorts - scientists, philosophers, poets, novelists, and essayists - were inspired by new accounts of nature, from the simplest experimental observations to the grandest visions of the cosmos.

Individual instruction in subjects of special interest that cannot be studied in regular courses.

Supervised small group tutorial in the study of literature in English.

Supervised individual tutorial in an independent scholarly or critical subject.

An introduction to the deeply religious, yet turbulent culture of Anglo-Saxon England, where the tension between new Christian belief and deeply engrained warrior culture produced works of provocative prose and astonishing poetry. We will first learn the fundamentals of Old English, which requires study as a foreign language. As we gain facility with the language, we will translate biblical narratives, sermons, and religious poems: some of them cautiously literal in their treatment of scripture, others fascinatingly hybrid. Ultimately, we will gain a sense of the development of English prose, and read some of the greatest poems in the English language.

This course deepens our sense of Anglo-Saxon culture through texts that bring its everyday, nitty-gritty details to life. We will encounter, for example, strange medical remedies as well as bawdy riddles; the domestic comforts of Beowulf's mead-hall as well as its epic battles. After a rapid review of skills taught in 102, we will translate progressively more challenging passages; transcribe from Old English manuscripts; and read John Gardner's Grendel, discussing the uses of engaging with an era that remains opaque in many ways. Class will culminate with final projects of translation, recitation, or research, which you will also present to the class in the last three sessions.

This course studies epic literature through six significant works in the genre: Homer's Iliad and Odyssey, Vergil's Aeneid, Milton's Paradise Lost, George Eliot's Middlemarch, and George Lucas' Star Wars. We will examine these works in terms of their formal conventions, thematic interests, and historical contexts, as well as attending to the interactions between texts in the epic tradition, the shift from narrative poetry to novel and film, and the manifestations of epic in the modern world.

One of the most astonishing, vibrant, multivalent texts in the English language, Chaucer's The Canterbury Tales contains characters high and low telling stories of edification and pleasure, in poetry and prose, on topics bawdy and pious. We will read this work in its entirety, while also looking at some of Chaucer's shorter poems and the historical and cultural milieu in which he wrote.

The rise of the novel, seen through eighteenth-century fiction by Defoe, Haywood, Richardson, Fielding, Sterne, and Jane Austen. Through fiction, we can live out our highest aspirations and blackest fantasies; we can imaginatively enter the minds of others and inhabit strange, sometimes terrifying alternate realities. The early novel was preoccupied with such possibilities for dislocation and change: what happens when a character ventures far from home, and how can someone rise or fall in the world? Alongside these issues, we will explore the paradoxes of "realism," the problems of gender and class, and the sheer pleasure of reading fiction

A lecture on Golden Age Broadway musicals within their theatrical context. Readings pair plays with musicals on a similar theme, including Death of a Salesman and The Music Man, Mister Roberts and South Pacific, and The Miracle Worker and My Fair Lady.

In this class we'll read at least five of Jane Austen's novels and study the contribution they made to the early-nineteenth-century remaking of the novel as a form. Our chief concern will be Austen's intervention into her own era's discussions of what fiction could and should do, but we'll also acknowledge the ardent feelings her books continue to arouse today. As part of that acknowledgment, we'll conclude the course by investigating the wild world of contemporary Austen fandom and the Austenian tourism, shopping, adaptations, and sequels that nurture it.

A class on the aesthetics and cultural politics of the Gothic tradition, from Frankenstein to Freaks. How has this tradition's fascination with those who come back from the dead mediated social anxieties about the generation of life or the lifelike? We'll consider vampire and other monster fictions by such authors as John Polidori, Mary Shelley, Sheridan Le Fanu, Bram Stoker, Mary Elizabeth Braddon, Robert Louis Stevenson, and Gaston Leroux. We'll conclude the semester with an investigation of early horror cinema, exploring how the modern medium of cinema gave Gothic preoccupations with the animation of the dead a new lease on life.

What do love, sex, erotic desire, gender and personality have to do with one another, with how you see yourself, with what and how you read, with how others see you? What is this thing called sexuality, where did it come from, and how did literary creators find ways to reflect it, or change it? We'll look for answers in novels, plays, film, poetry, comics and nonfiction from the Renaissance to the present, among them Austen, Baldwin, Bechdel, Binnie, Lawrence, Rochester, Sedgwick, Wilde, and Whitman.

A set of major works of art produced at the peak of the novel's centrality as a literary form: Sense and Sensibility, Madame Bovary, Anna Karenina, Middlemarch, The Brothers Karamazov, Buddenbrooks. Society, family, generational novels and the negations of crime and adultery; consciousness and the organization of narrative experience; the novel of ideas and scientific programs; realism, naturalism, aestheticism and the interruptions of the imaginary.

A survey history of Western drama, from the Greeks to the present. Plays include Oedipus Rex, Tartuffe, The Cherry Orchard, Gypsy, and Fires in the Mirror.

Examines a range of works, including novels and stories by Saul Bellow, Philip Roth, Raymond Carver, Henry Green, Muriel Spark, Ian McEwan, Penelope Fitzgerald, and Martin Amis. Attempts to situate these books in their larger historical traditions, while emphasizing that we are reading a living literature.

This course examines how American and African American writers engaged with legal definitions of race, personhood, and citizenship in the nineteenth and early twentieth century. In the first half of the course we will read literary texts from the antebellum alongside legal documents such as the Fugitive Slave Act, and Dred Scott v. Sandford. In the second half, we will analyze the literature of the "Jim Crow" era in the context of the Plessy v. Ferguson decision. Authors we will read include: Phillis Wheatley, Frederick Douglass, Herman Melville, Mark Twain, Pauline Hopkins and Charles Chesnutt.

A survey of the 20th-century novel, its forms, patterns of ideas, techniques, cultural context, rivalry with film and radio, short story, and fact. Wharton, Age of Innocence; Cather, My Antonia; Hemingway, A Farewell to Arms and stories; Faulkner, The Sound and the Fury and stories; Fitzgerald, Tender is the Night; Ellison, Invisible Man; Nabokov, Lolita; Bellow, Herzog; Salinger, Catcher in the Rye and stories; Ha Jin, Waiting. Stories by James, London, Anderson, Gaitskill, Wallace, Beattie, Lahiri and Ford.

This course is both a survey of Asian American literature and an introduction to ongoing debates about what constitutes Asian American literature. How do we determine that a literary work is "Asian American" when the term has been continuously revised and expanded since it came into common usage in the late 1960s? How important are considerations of a work's thematic concerns, its relationship to specific cultural forms and traditions, or its author's biography?

What can writing tell us about nature and the relation of humans to it? Readings in William Wordsworth, Henry David Thoreau, John Muir, John Burroughs, Aldo Leopold, and Rachel Carson, who form a tradition blending poetry, ethics, and science. Additional nature and conservation writing (e.g., Susan Fenimore Cooper, Theodore Roosevelt), recent poets (e.g., Gary Snyder, Mary Oliver, Jorie Graham) and prose writers (e.g., Annie Dillard, Gretel Ehrlich, John Elder). Critical papers assigned, also individual nature writing as essays or poems.

This course looks at the scene of contemporary American fiction via the work of someone whom many-perhaps controversially-have called the writer of his generation: David Foster Wallace. This year we will pay particular attention to influences on Wallace: Pynchon, Barth, Dostoyevsky, Kierkegaard, Ozick, Borges, Kafka.

The estranged, didactic, intellectual theatre of Brecht, and the ritualistic, emergency theatre of Artaud serve as reference points for a range of American, English, and Continental plays. The unique part played by "consent" in theatrical experience. Emphasis on the structural features of drama: establishing or violating the boundary between audience and stage; merging or separating actor and character; expanding or destroying language. Readings include Brecht, O'Neill, Artaud, Genet, Pirandello, Beckett, and such earlier authors as Euripides and Shelley.

Money and language as means of representation, exchange, and production. Principal literary texts include works by Shakespeare, Melville, Poe, Thoreau, Ruskin, Joyce, and Martineau as well as attention to novels where a coin is the narrator and to coins inscribed with poetic epigrams. Special consideration of the economics of literature from Aristotle to Heidegger, the relationship between monetary and aesthetic form in visual arts and cinema, and various theories of money as social fiction.

The practice of reading literature is informed by theoretical assumptions that sometimes are made explicit but often are not. These (frequently rival) assumptions have a long history; understanding that history means understanding what is at stake when we argue about literature. The class considers theories of literature from Plato and Aristotle to the twentieth century.

A study of four poetic and/or visionary works written 1300-1400: Dante Alighieri's Divine Comedy, John of Morigny's Book of Flowers, Julian of Norwich's Revelation of Love, and William Langland's Piers Plowman. We consider the inter-relationship between the poetic and the visionary in light of the categories of "orthodoxy" and "discretion of spirits" during a period when both were fiercely contested.

English literary history shies away from one of cultural history's most momentous revolutions: the Reformation. This course looks to a series of discursive areas (e.g. literature, theology, politics) to shape that literary history. We will look to both canonical and non-canonical texts, from Chaucer to Shakespeare; each session will be grounded in a Houghton-possessed book.

This seminar on eighteenth-century novels and their philosophical surrounds situates itself at a crossroads where the histories of epistemology, the senses, and belief (both in God and in fictions) intersect. The Enlightenment described itself as the moment when an educated populace, weaned from superstition, would begin to see the world in its true colors: knowledge was to replace credulity. Our task will be to investigate its writers' investment in replaying the benighted, "Gothic" delusions they were meant to have put behind them. Our readings will encompass novels by Defoe, Lennox, Walpole, Radcliffe, and others, which we'll read alongside eighteenth-century philosophy of mind, philosophy of religion, and twenty-first-century discussions of magic and secularism.

A study of English writers of the late sixteenth and early seventeenth centuries in relation to the international cultural movement of the European Renaissance, with an emphasis on changing attitudes towards the Renaissance project of reviving the classical past.

Reading-list to be determined in consultation with seminar members will include Austen, Bronte, Thackeray, Gaskell, Dickens, Collins, Trollope, read against both contemporaneous and new criticism and theory. Exercises in book reviewing, abstract-writing and conference presentation/public speaking.

The poetry of Emily Dickinson, with some attention to the letters. Ways of grouping the poems into sub-groups for purposes of examination. Dickinson from sublime to sardonic, from intellectual to faux-naive "girl."

The seminar offers an in-depth study of Ulysses and of Beckett's dramatic oeuvre. It doubles as an introduction to scholarly methods, including biography, history of the book, genre, geography, theater history, media studies, and philosophy.

An exploration of the emergence and development of the African-American literary "tradition" from the 18th to the 20th century. Close reading of the canonical texts in the tradition, and their structural relationships are stressed.

This course will examine key books in the fields of theater and performance studies published in the last five years. We will look closely at their methodology, theoretical contributions, and engagement with earlier texts that have helped define and shape the fields.

A survey of the Bildungsroman, with particular attention to the scholarship of this genre and to theoretical accounts of genre more generally.

Philosophic and literary accounts of beauty from Greek through modern, including Plato, Aquinas, Dante, Kant, Keats, and Rilke. In addition, the major arguments against beauty; and its stability across four objects (God, gardens, persons, and poems).

The West Coast of North America has been imagined in a variety of ways: as paradise, as the end of the world, and as a point of contact with Asia, among others. This seminar will concentrate on poetic responses to the natural and social environments of the Pacific West-a transborder region that spans the U.S. and Canada-in an effort to discern the intricate tangles of regional cultures and geography. Of particular interest will be the place of the West Coast in American and Canadian literature. Authors may include Jeffers, Snyder, Ginsberg, Duncan, Hugo, Kizer, Zwicky, Marlatt.

The Conference focuses upon dissertations in progress and other research topics of mutual concern. Membership limited to faculty members teaching or conducting research in medieval English language and literature and to graduate students working in this field.

The Conference focuses upon dissertations in progress and other research topics of mutual interest.

Focuses on dissertations, dissertations in progress, and research topics of mutual interest.

Focuses on research topics related to dramatic literature, theatre, and performance. Open to all faculty members and graduate students teaching or conducting research in the field.

Colloquium open to all graduate students working in the area of American literature and culture. Papers delivered by students writing seminar papers or dissertations, faculty members, and visiting scholars.

The craft of teaching (discussion, lectures, tutorials, course descriptions, syllabi). This colloquium, designed for third-year graduate students, also considers issues related to the field exam, prospectus, and other aspects of advanced graduate study in English.