The courses listed below are provided by the JHU Public Course Search. This listing provides a snapshot of immediately available courses and may not be complete.
Column one has the course number and section. Other columns show the course title, days offered, instructor's name, room number, if the course is cross-referenced with another program, and a option to view additional course information in a pop-up window.
Course # (Section)
Title
Day/Times
Instructor
Room
PosTag(s)
Info
AS.220.805 (01)
Teaching Assistant
Robinson, Shannon L
Teaching Assistant AS.220.805 (01)
For Writing Seminars MFA students. This indicates they are actively participating as a TA as required by the program.
Credits: 3.00
Level: Graduate
Days/Times:
Instructor: Robinson, Shannon L
Room:
Status: Open
Seats Available: 1/8
PosTag(s): n/a
AS.220.646 (01)
Readings in Pedagogy: Teaching Fiction and Poetry
M 2:00PM - 5:00PM
Robinson, Shannon L
Gilman 138D
Readings in Pedagogy: Teaching Fiction and Poetry AS.220.646 (01)
A graduate course designed to develop both close reading and genre study, and to support the teaching of Introduction to Fiction and Poetry (IFP) I and II. Readings in selected works of American, English, and European poetry and short fiction. Course required by all graduate students in the MFA program.
Credits: 3.00
Level: Graduate
Days/Times: M 2:00PM - 5:00PM
Instructor: Robinson, Shannon L
Room: Gilman 138D
Status: Waitlist Only
Seats Available: 0/8
PosTag(s): n/a
AS.220.655 (01)
Readings in Poetry: Line, Sentence, Syntax
F 2:00PM - 5:00PM
Arthur, James P
Gilman 138D
Readings in Poetry: Line, Sentence, Syntax AS.220.655 (01)
A study of the interplay of the line and the sentence in poetry, with an emphasis on syntax. Some prose works will also be used for context. Poets employing syntax with great verve and precision, whether they obey or disrupt the rules, will be read in order to inform students’ own stylistic choices.
Credits: 3.00
Level: Graduate
Days/Times: F 2:00PM - 5:00PM
Instructor: Arthur, James P
Room: Gilman 138D
Status: Open
Seats Available: 1/9
PosTag(s): n/a
AS.220.623 (01)
Fiction Workshop
W 2:00PM - 5:00PM
Puchner, Eric P
Gilman 138D
Fiction Workshop AS.220.623 (01)
Discussion and critique of fiction manuscripts by students enrolled in the M.F.A. program.
Credits: 3.00
Level: Graduate
Days/Times: W 2:00PM - 5:00PM
Instructor: Puchner, Eric P
Room: Gilman 138D
Status: Waitlist Only
Seats Available: 0/8
PosTag(s): n/a
AS.220.625 (01)
Poetry Workshop
Th 2:00PM - 5:00PM
Malech, Dora Rachel
Gilman 138D
Poetry Workshop AS.220.625 (01)
This course will be an intense immersion in the poet’s craft, with an emphasis on stylistic experimentation. Throughout the semester we’ll regularly take up the question of what individual poems mean, keeping in mind that the distinction between theme and style is often nebulous. Students will submit a poem for discussion every second week.
Credits: 3.00
Level: Graduate
Days/Times: Th 2:00PM - 5:00PM
Instructor: Malech, Dora Rachel
Room: Gilman 138D
Status: Waitlist Only
Seats Available: 0/8
PosTag(s): n/a
AS.220.806 (01)
The Hopkins Review Managing Editor
Malech, Dora Rachel
The Hopkins Review Managing Editor AS.220.806 (01)
For Writing Seminars MFA students. This indicates that they are actively participating as a managing editor for The Hopkins Review.
Credits: 3.00
Level: Graduate Independent Academic Work
Days/Times:
Instructor: Malech, Dora Rachel
Room:
Status: Open
Seats Available: 4/5
PosTag(s): n/a
AS.220.605 (01)
Readings in Fiction: The Novella
T 2:00PM - 5:00PM
Choi, Susan
Gilman 138D
Readings in Fiction: The Novella AS.220.605 (01)
What even is a novella? Ian McEwan offers this starting point: Let’s take, as an arbitrary measure, something that is between twenty and forty thousand words, long enough for a reader to inhabit a world or a consciousness and be kept there, short enough to be read in a sitting or two and for the whole structure to be held in mind at first encounter.”
McEwan promptly goes on to name “The Dead” – 15,000 words – as “the great novella,” so clearly rules are made to be broken. Whatever exactly we think the novella is, it offers unparalleled lessons for us in how to forge narrative structure that is lacking in superfluity and enormous of impact. Every week we will read at least one “novella;” sometimes we will read two; we will write weekly brief critical responses to our reading which will focus on craft; and each student will present on one of the assigned works in the course of the semester. Our reading list may include works by such authors as James Joyce, Edith Wharton, Nella Larsen, Alice Munro, Toni Morrison, Katherine Anne Porter, Philip Roth, Shirley Jackson, Muriel Spark, Jean Rhys, Jane Smiley, George Saunders, Gabriel Garcia Marquez, and Jenny Erpenbeck.
