Gateway Course Required for the Beginning Major
Engl 25000
Introduction to Literary Study
30920 sec. C Elizabeth Mazzola M, W 11:00- 12:15pm
30923 sec. E Kedon Willis M, W 2:00 – 3:15pm
30680 sec. G Kedon Willis M, W 5:00 – 6:15pm
30922 sec. M Harold Veeser T, TH 11:00 – 12:15pm
30921 sec. R Harold Veeser T, TH 3:30 – 4:45pm
This course offers an introduction for beginning English majors to the practices and concepts in the study of literature. We will think carefully about literature as a form of representation – about what literary texts mean as well as how they mean. The course will help students to develop a critical vocabulary and method for reading and writing about literature, as well as introduce them to the cultural contexts and backgrounds of various literary traditions. Our readings will explore a variety of genres and styles – short fiction, the novel, narrative poetry, lyric poetry, and forms of drama. Above all, this is a class in reading and (frequent) writing which will emphasize close reading techniques, interpretive approaches, the making of arguments, and the development of individual critical voices in order to prepare students to succeed in advanced English elective courses.
Literature Courses
200- Level courses
Please note: These 200-level courses are designed to introduce beginning students to literary history, critical approaches, and formal terminology. They typically have a minimum of 3-5 shorter assignments, a variety of in-class writing tasks, and assume no prior background in the discipline. For this reason, majors are not permitted to take more than four (4) 200-level classes.
Engl 21200
Language, Identity, and Power
(fulfills Secondary English Education conc. req. in sociolinguistics)
30919 sec. B Olivia Wood M, W 9:30 – 10:45am
In what ways are languages, identities, and power dynamics entangled? In this class, we will survey linguistic scholarship on cultural perceptions of language, the bonds between identity and language, as well as histories of linguistic variance and change, with an emphasis on diverse English dialects within the United States, although students are encouraged to bring their knowledge of other places and languages into class discussion. Building from these discussions, we’ll consider research illustrating how language is used in education, employment, children’s films, the media, and the courts to identify, subordinate, and discriminate against people.
Engl 21300
Grammar
(fulfills Secondary English Education conc. req. in sociolinguistics)
30913 sec. S TBA T, TH 5:00 – 6:15pm
This class will provide an overview of the rules of applied grammar, syntax, and sentence structure; an introduction to social and critical theories about “Standard” English and language diversity; and strategies and techniques for teaching grammar and writing.
Engl 25100
Historical Survey of British Literature
(fulfills Secondary English Education conc. req. for historical survey)
30895 sec. P Václav Paris T, TH 2:00 – 3:15pm
What does the history of modern British literature look like when it’s read only through women writers? This course traces the British novel from the early nineteenth century to the era of decolonization through four novels that made women’s everyday lives their subject: Jane Austen’s Pride and Prejudice (1813), Charlotte Brontë’s Jane Eyre (1847), Virginia Woolf’s Mrs Dalloway (1925), and Jean Rhys’s Wide Sargasso Sea (1966). The course reads these novels for changes in narrative form, from Austen’s irony and free indirect discourse to Woolf’s stream of consciousness and Rhys’s postmodernism. Looking closely at each of these novels, we’ll ask how British literature grows through an ongoing conversation, debates carried on across generations between women writers – about expectations, as well as about money, desire, madness, and empire. The hope is that taken together, these texts will give us a fresh history of modern Britain and its literature – a history witnessed from the back rooms of big houses, from a park bench in London, from a drawing room where a party is being prepared, and from the colonies.
Engl 26000
Studies in Genre: Tragedy
(fulfills Secondary English Education conc. req. for historical survey)
30366 sec. S Daniel Gustafson T, TH 5:00 – 6:15pm
As a literary genre, tragedy refers to much more than just a sad story. In this course, we will explore the history of tragic forms and ideas in literature (primarily in staged drama and in film) and grapple with some important questions: why do people remain drawn to, and even find pleasure in representations of horrific events? Do tragic representations bear a politics, and how have shifting identity politics (over time and across spaces) determined who counts as a tragic subject? What is tragedy’s relation to violence and loss, on the one hand, and communal affirmation on the other? How does tragedy (both old and new forms) help us address our contemporary preoccupations with democracy and its failures; war, refugeeism, and borders; citizenship, social inequity, and the politics of race and gender? We’ll read a selection of plays by ancient Greek authors, by early modern authors, and by modern and contemporary authors. We’ll also watch some films and discuss some philosophy and cultural theory.
Engl 27000
Notes from the Asian Underground: Unheard Voices of the Asian Diaspora
(fulfills Secondary English Education conc. req. for ethnic/minority literature)
30912 sec. F Sokunthary Svay M, W 3:30 – 4:45pm
How do talk about diversity within literature? How, in particular, do we place Asian narratives within this American designation of difference, a difference which inevitably leads to positioning Asians as “other” and “outsider”? Course readings will be Asian (Anglophone) diasporic literature with a focus on the United States, although English translations of work by Asian authors will be considered. We will also explore how race and/or ethnicity are performed in the literature, in addition to looking at themes such as migration, belonging, isolation, state violence, gender, and sexuality.
Engl 28000
Introduction to Comparative Literature
Cross-listed with CL 28000
30198 sec. C Mia Perez M, W 11:00 – 12:15pm
This course offers an introduction to the study of literature across different languages, time periods, and genres. It serves as a gateway course for students majoring or minoring in Comparative Literature and lays out the principal methods and challenges of this discipline. We will examine what it means to cross temporal, geographic, and formal boundaries in order to read and relate texts from different national, linguistic, artistic, and cultural traditions.
This Spring our work will revolve around a central question: What is the ‘nature’ of nature and what is the human being’s place within, or, conversely, without it? Spanning from the enlightenment to the 20th century, and with a particular eye toward Romanticism and its remnants, this course will interrogate the possibilities and practicalities of ecological thought and explore how such philosophical inquiry has led to diverse experiments in aesthetics and form. We will also read literary theory and criticism to think more deeply about language, history, philosophy, and social movements and their respective roles in the production and circulation of literary texts. Along the way, we will consider the relationship between aesthetics and politics, or, more specifically how gender, race, and sexuality have each shaped the way literature is defined and read.
Readings may cover a broad range of works including poems, plays, novels, films, and paintings by figures like Jean-Jacques Rousseau, Chateaubriand, Goethe, Mary Shelley, Charlotte Smith, Emily Brontë, José María Heredia, Guido Morselli, and W.G. Sebald, among others.
300- Level Courses
Please note: 300-level classes assume some background and prior experience at the 200-level. Students should complete two 200 level courses before embarking on 300 level work; however, they may register for a single 300 level course if they are still completing 200 level requirements. Generally, these classes require two shorter essays and one longer assignment or final paper involving research or reference to secondary materials.
Engl 35302
Shakespeare II
(fulfills Secondary English Education conc. req. in Shakespeare)
30914 sec. B Estha Weiner M, W 9:30 – 10:45am
Shakespeare II is a survey of Shakespeare’s later plays, beginning with Measure For Measure, a “problem comedy,” bursting genre boundaries, as all his genres defy boundaries. We’ll continue to three of his major tragedies, Hamlet, Othello, and Macbeth, and, finally, to one of his finest romances, The Tempest. The class will focus on Shakespeare’s language, on its physicality, as well as the physicality of his theatre, in light of the prevailing ideas and politics, secular and religious, in Early Modern England. We will never lose sight of his necessity to “put on a show.” We will always read the plays aloud, and students will memorize a monologue or scene of their choice to present. A variety of critical readings and movie viewings will illuminate our work: occasional in- class questions, short essays, the mid-term memorized pieces, and a final project chosen by each student, in consultation with the professor.
Engl 35400
Quests, Gests, and All the Rest: Medieval Adventure Literature
(fulfills Secondary English Education conc. req. in pre-1900 literature)
30677 sec. S Mark-Allan Donaldson T, TH 5:00 – 6:15pm
In this course, we will explore some of the most popular forms of medieval writing. We will look at texts which sit somewhere between mythology and history like the biographies of the real William “The Marshal” Marshall and the imaginary Houn de Bordeaux; read the deeds and matters of figures which defined culture, such as the Chanson de geste (Heroic Deeds) concerning Charlemagne and the legends where Saint Martha destroyed a dragon from the inside and Saint Martin threw a tree at some pagans; and examine the quests of heroic knights struggling with psychological turmoil in a literary culture which preferred lavish aesthetics to internal monologues, where Lancelot must cross bridges made of swords, and Yvain and his lion fight giant serpents. The course will also trace the influence of medieval narrative elements and aesthetics in modern literature, film, and video games to build an understanding of how artistic cultures communicate across time.
Engl 36400
Migration and Undocumented Writers in the US
(fulfills Secondary English Education conc. req. in ethnic/minority literature or American literature)
30915 sec. R Sophia Yip T, TH 3:30 – 4:45pm
Migration, one of the most dynamic phenomena throughout human history, is likewise one of the most contested issues facing our world today. In this course, we’ll explore representations of migration, displacement, border crossings, belonging, unbelonging, and resistance in the works of contemporary diasporic and undocumented writers. We’ll explore key designations such as “undocumented,” “illegal,” and “alien” to understand the historical configuration of the undocumented subject in the US context. We’ll read in a range of genres, including memoir, fiction, and poetry. Our tentative authors include Javier Zamora, Marcelo Hernandez Castillo, Jose Antonio Vargas, and Karla Cornejo Villavicencio. While this course intends to foreground the voices of undocumented writers, we’ll also read from other diasporic writers comparatively. By doing so, we’ll consider more broadly the genre of undocumented literature—which often gets rendered invisible in history—and its relation to the global literary canon.
Engl 36500
Immigration Literature
(fulfills Secondary English Education conc. req. in ethnic/minority literature or American literature)
30684 sec. C Grazyna Drabik M, W 11:00 – 12:15pm
The immigrant experience has been richly represented in American literature since the beginning of the 20th c. constituting a fundamental part of American cultural history. Numerous narratives, in fiction and non-fiction, chart the dynamics, variations, and stages of the immigration experience – focused around the ur-concept of the “American Dream” and the process of “assimilation/acculturation” by which immigrants “become Americans.”
More recent narratives, however, highlight global dimensions of the massive displacement and present increasingly complicated representation of American identity. These fictional narratives and non-fiction accounts address the pain and conflicts resulting from such displacement, but also bring to attention new options and possibilities, including the complexity of bi-cultural, in-between, and trans-national identities.
Our readings include selection from the canonical immigration literature, such as by Willa Cather, Andzia Yezierska and Mario Puzo and the contemporary voices, such as Junot Diaz, Chang-Rae Lee, Martyna Majok, and Imbolo Mbue. Our discussion should help us appreciate richness of the changing landscape of multicultural America.
Engl 36900
Digital Rhetoric
30683 sec. D Olivia Wood M, W 12:30 – 1:45pm
The realm of the digital is now more networked than ever, and while concepts from classical rhetoric can still be useful to us, those thinkers’ ideas cannot fully explain the digital phenomena we witness as rhetorical observers or equip us with all of the tools we might want to use to choose how to intervene in digital spaces in the most effective way. Together, we will read recent books and articles of digital rhetorical scholarship alongside select other pieces to think through contemporary digital rhetorical activity, including but not limited to how social movements use digital tools rhetorically to further their ends and how AI tools are impacting the digital rhetorical space. Students will complete regular reading notes and reflections, make low-stakes in-class presentations, and complete one final project that investigates/analyzes a rhetorical ecosystem and includes a digital intervention of the student’s choosing.
Engl 37200
Writing Queer
30682 sec. M Václav Paris T, TH 11:00 – 12:15pm
How do you write a desire for which no form yet exists? This course studies the literary invention of queer desire from the late nineteenth century to the present. It attends to the techniques by which writers have given shape to experience that the available language could not hold. We read novels, essays, film, poems, short stories, and songs alongside the major work in queer theory — Foucault, Sedgwick, Butler, and more recent critics. Some weeks take us outside Europe and North America, to places where “queer” is not the word people use, or where there is no word at all. And we reflect on the politics of naming the unnamed.
The reading list, as currently imagined, runs from Dr Jekyll and Mr Hyde, Henry James, the Wilde trials, through Nella Larsen’s Passing, Gertrude Stein, Djuna Barnes’s Nightwood, Jean Genet, Audre Lorde’s Zami, and the documentary Paris is Burning, to recent novels from Taiwan, Morocco, and Argentina. There will be about a hundred pages a week and never more than one short novel. Students are expected to do all the reading and to prepare their own responses to texts, as well to write a final creative/critical essay.
This course includes the discussion of sexually explicit material.
Engl 37504
The Girl
30681 sec. E Elizabeth Mazzola M, W 2:00 – 3:15pm
Putting a story in the hands of a young girl is one of the most dangerous things a writer can do. Especially between the ages of 9 and 12, girls use their bodies, minds, and powers of speech in ways that make them subversive, unusually commanding, and sometimes almost inhuman. These strengths are usually temporary, however. From early ages boys are typically trained to become leaders, conquerors, fighters, and problem-solvers, but childhood often prepares girls to disappear, grooming them with rules about appropriate appearances, suitable behaviors, and all kinds of reasons to disappear.
Girlhood Studies is an exciting new interdisciplinary field, and our class will involve a variety of readings as well as discussions about media representations and Barbie dolls, Girl Scouts and The Chronicles of Narnia, Harriet the Spy and Judy Moody, initiation rituals and fairy tales. The primary texts are to be determined, but we will probably look at studies by Carol Gilligan and Mary Pipher as well as the medieval Pearl, Sula and The Bluest Eye, Little Women, The House on Mango Street, and Shakespeare’s Winter’s Tale.
Engl 39200
Culture of Resistance in New York
Cross-listed with JWST 12000
(fulfills Secondary English Education conc. req. for ethnic/minority literature)
31420 sec. E Elazar Elhanan M, W 2:00 – 3:15pm
This course will be an archeological expedition, seeking to unearth hidden layers of New York’s history, specifically the rich Jewish immigrant culture that was discarded and covered up by the process of acculturation. Using literature, theater, and politics we will trace the outlines of this long-gone culture and familiarize ourselves with a unique chapter of the American experience.
Engl 39200
Saints and Sinners in Jewish Literature
Cross-listed with JWST 21700
(fulfills Secondary English Education conc. req. for ethnic/minority literature)
31177 sec. M Amy Kratka T, TH 11:00 – 12:15pm
The course investigates modern Jewish fiction through highly specialized lenses. The categories of “Saints and Sinners” apply to the characters in our novels and stories, suggesting people who do right or wrong, either to the world around them or to themselves. Considers definitions and notions of the saintly, the good, the perfect, and notions of the sinful, the wrong-headed, the evil, as they apply to world events, world views, worldly pursuits. Discusses the specific ways Jewishness informs our definition and perception of the good and the evil, especially with respect to Biblical precedent, Jewish law, and a contemporary ethical society. Writers include: Shalom Auslander, Mark Helprin, Dara Horn, Nicole Krauss, Tova Mirvis, Cynthia Ozick, Philip Roth, Isaac Bashevis Singer, Ayelet Tsabari, and others.
Engl 39200
Jews in Film and Fiction
Cross-listed with JWST 23200
(fulfills Secondary English Education conc. req. for ethnic/minority literature)
31181 sec. L Amy Kratka T, TH 9:30 – 10:45am
This class explores the portrayal of Jewish characters in (mostly) post-WWII fiction and film. It discusses the depiction of Jewish identity and asks what role religion plays in these depictions. It also looks at the representation of women and men, parents and children, the importance of bearing witness to tragedy, and it investigates the way in which stories change when subjected to different media, discussing, in general, the larger questions that are posed by being Jewish in America.
Capstone Seminars – recommended after 24 credits in the major
These courses are strongly recommended upon completing 24 credits in the major and can only be registered with an English Advisor.
Engl 49000
New World Seminar
30367 sec. 1FG Grazyna Drabik M 4:00 – 6:00pm
The course is structured as a discussion seminar requiring intensive reading, critical text analysis and creative exploration. Students are expected to set aside sufficient time to prepare for each session by covering assigned readings and formulating well-informed observations, questions and topics for discussion during class meetings.
Our general field of inquiry belongs to the broadly understood Immigration Literature that invites us to reflect upon such important themes as processes of forging individual and communal identities; conflicting loyalties that shape lives led between two worlds: the adopted homeland and the country of origins; redefinition of gender roles and of inter-generational relations as a result of immigration; and the important role of education in dealing with displacement. This semester we focus our attention in particular on the relationship between language, place, and identity, and on the transformative impact of “border crossings.”
Our selection of texts is unusual in the broad range of time-span covered and diversity of voices; the readings include two extraordinary autobiographical accounts of the impact of forced displacement and a “journey into unknown” (by Olaudah Equiano and Álvar Nuñez Cabeza de Vaca); novellas by Tomás Rivera and Sandra Cisneros; poems by Leslie Marmon Silko and Simon Ortiz signaling the importance of the American Native perspective; and the recent writings by Edwidge Danticat and Viet Than Nguyen.
Engl 49000
James Baldwin
(fulfills Secondary English Education conc. req. in ethnic/minority literature or American literature)
30363 sec. 2NP Janée Moses T 1:00 – 3:00pm
This course explores the life and writings of James Baldwin (1924-1989). In this course, we will study Baldwin’s oeuvre, including novels, short stories, essays, and documentaries, in chronological order in an effort to underscore the author’s simultaneous lived and literary processes of coming-of-age. In addition, we will analyze Baldwin’s engagement with history, especially social and political movements such as the Civil Rights and Black Power movements, and gay liberation, and his impact on contemporary black lives movements.
Creative Writing Courses
Engl 22000
Introduction to Creative Writing
30904 sec. D TBA M, W 12:30 – 1:45pm
30903 sec. F TBA M, W 3:30 – 4:45pm
30902 sec. H TBA M, W 6:30 – 7:45pm
30901 sec. M TBA T, TH 11:00 – 12:15pm
30900 sec. NP TBA T, F 12:30 – 1:45pm (online s.)
30898 sec. R TBA T, TH 3:30 – 4:45pm
30899 sec. T TBA T, TH 6:30 – 7:45pm
This course is an entry-level overview of creative writing, introducing students to various genres and techniques as they learn to produce creative work. Above all, students will be required to write extensively, learning the craft through experience and instructor feedback.
Engl 22005
Speculative Fiction: Cyber Fantasy, Sci-Fi, and Horror
30925 sec. L Jason Lobell T, TH 9:30 – 10:45am
It’s the genre that contains a multitude of other genres. Works once called fantasy, horror, science fiction, dystopian, and futurist are now gathered together under the umbrella of speculative fiction. Often described as “what if” fiction, it’s where the realistic and commonplace explodes into the fantastical, the mystical, the surreal, and the supernatural. It’s a blending of the familiar and the otherworldly that makes unique demands on its practitioners. How does a writer create stories that are both extraordinary in their conceptions, yet still believable to the reader? Why choose this particular genre as a mode of literary expression; what does it allow that others don’t? Devoted equally to reading and writing, this course will attempt to answer these fundamental questions.
Engl 22100
Prerequisite: English 22000
Intermediate Creative Writing: Reading as Writers
30924 sec. D Estha Weiner M, W 12:30 – 1:45pm
Reading and Writing go together. This Intermediate Creative Writing Workshop links reading and discussing poems, short stories (fiction), and drama with improving your own writing in those three genres. You will read the texts as readers and writers, becoming more aware of the tools of each genre, as you do so. The readings should act as a catalyst/prompt for your own work. Be prepared to discuss those readings. Then comes presentation of your own first drafts in a workshop format, culminating in a final manuscript, and a required Reading Day. We’ll also ask you to bring in a poem from your culture, in the original language, and in its translation.
Workshopping will usually be in alphabetical order, to be fair. If we are able to workshop or privately meet about your final drafts, we will. Please attend readings at CCNY and throughout our five boroughs, and consider submitting your own work to college literary magazines.
30925 sec. P TBA T, TH 2:00 – 3:15pm
Course description is forthcoming.
Engl 23000
Prose Writing Workshop
30911 sec. B TBA M, W 9:30 – 10:45am
30910 sec. E TBA M, W 2:00 – 3:15pm
30909 sec. F TBA M, W 3:30 – 4:45pm
30908 sec. G TBA M, W 5:00 – 6:15pm
30907 sec. L TBA T, TH 9:30 – 10:45am
30906 sec. NP TBA T, F 12:30 – 1:45pm (online s.)
30905 sec. S TBA T, TH 5:00 – 6:15pm
In this course the varieties of prose writing, excluding fiction, will be practiced. The class is devoted to exploring such nonfictional forms as personal essay writing, reportage, memoir and biographical writing, sketches and opinion pieces. Throughout the semester students will read exemplary works from each area of nonfiction and will also spend considerable time practicing the genre through continuous exercises given by the instructor each week. Students will also learn to revise their works, respond to their peers’ writing, and work toward one to two major papers assigned for the semester.
Engl 32000
Prerequisite: English 22100
Workshop in Fiction
30897 sec. F TBA M, W 3:30 – 4:45pm
30896 sec. R TBA T, TH 3:30 – 4:45pm
Course description is forthcoming.
Engl 32100
Prerequisite: English 22100
Workshop in Poetry
30926 sec. S Michael Montlack T, TH 5:00 – 6:15pm
Sometimes the muses just don’t show up. Or not as often as we’d like. This workshop is designed to lure them to your door and keep them coming back—through reading contemporary poets, discussing their techniques and styles, then incorporating them in some fashion into your own poems, even if it’s just as a source of inspiration. Drafts will be workshopped and revised on a weekly basis. Topics will include Portrait, Form, Imitation, Narrative, Repetition, and Direct Address. In addition, there will be some time spent on ways to revise more bravely, going beyond line edits and actually re-seeing poems.
There will be occasional in-class writing exercises and prompts to get things started. While each assignment is meant to develop an element of craft, you will be encouraged to forge your own voice and style. One aim might be to create a foundation for a chapbook or series. By the end of the semester, five (or more) revised poems will be submitted with a process paper that reflects on what you experienced and learned while creating them—whether it’s about poetry, craft, or yourself as an artist.
Engl 32200
Prerequisite: English 22100
Drama Workshop
30916 sec. 1DE Marc Palmieri M 12:30 – 3:15pm
This is a creative writing workshop in the playwriting form. The plays must be original works or adaptations of your own prose work. We will begin the course considering the meaning of dramatic writing, tension, character, conflict, and how this ancient form is unique from other forms. We will share material aloud in class, evaluating one another’s work and sharing feedback in the classroom. Please note: We will work on stage plays, not screenplays. If you have a screenplay in progress, I suggest you adapt it into a play form. Adaptation from screenplay to a stage play format can be an enlightening exercise, and have an enormously positive effect on your screenplay and its future.
Each student will have his or her work read aloud by fellow class members. This is of particular importance in playwriting. We will work out a schedule, and students will present at least twice. All class members are eligible (and must be willing) to read parts.
List of Interdisciplinary Electives that will be counted toward major requirements
Only one course offered outside of the English Department will count toward the English major requirement
ANTH 20200 – Language in Cross-Cultural Perspective
ARAB 21201 – Cinema of the Levant
ASIA 33200 – Modern Chinese Literature
BLST 31961 – Queer Caribbean Writing
CLSS 31134 – The Odyssey and its Heritage
FREN 28300 – Literature of Contemporary France
HIST 27000 – Eyes of Travelers
HIST 31958 – British Empire in Film
JWST 20100 – Absurdist Jewish Film & Fiction
MCA 26000 – Topics in Cinema Studies: African Animation Film & Series
MCA 31500 – Intro to Screenwriting
PHIL 20600 – Philosophy of Science Fiction
PORT 32900 – Masterworks of Luso-Brazilian Literature
SPAN 28300 – Masterworks of Latin American Literature
SPAN 43800 – Spanish American Literature of the 19th Century
THTR 33100 – Playwriting
Spring 2027 Publishing Certificate Program Courses
NOTE: English majors and minors enrolled in the Publishing Certificate Program (PCP), can use one of the ENGL PCP courses toward both their major/minor and the Certificate. Publishing courses are open to students from all majors and require no prerequisites for registration. Students who intend to complete the Publishing Certificate must “add plan” in iDeclare.
The Publishing Certificate requires 15 elective credits (Introduction to Publishing +3 PCP-approved courses + Internship/Independent Study OR Introduction to Publishing + 4 PCP-approved courses.
PCP-approved courses may include 1 select course in art, marketing, public relations, advertising, or economics.
Engl 32501
Introduction to Publishing
28226 sec. 2LM Jennifer Buno T 9:30 – 12:00pm
This required course offers students a dynamic overview of the book publishing industry, including book acquisitions, editing, design and production, sales, marketing, advertising, corporate management, law and finance.
Engl 32502
The Publishing Practicum
28223 sec. 2TU Norma Perez-Hernandez T 6:00 – 8:30pm
In this hands-on course, students simulate the complete book-publishing process from contract negotiations to bound book/eBook and/or Audiobook. Prerequisite: Introduction to Publishing.
Engl 32801
Legal Issues in Publishing and the Arts
28222 sec. 4TU Matthew Fulton TH 6:00 – 8:30pm
This course covers the crucial issues and clauses in publishing contracts; intellectual property rights; concerns with A.I.; the First Amendment; general copyright matters; defamation; invasion of privacy; obscenity; and internet copyright issues.
Engl 31003 – Independent Study (3 credits)
The capstone of the Publishing Certificate Program is an internship in the publishing industry in conjunction with a 3-credit independent study with the Program director. In the semester prior to the internship and independent study, students work with the director on their applications, usually a resume and cover letters. The independent study should ideally take place in conjunction with the internship and in advance of or during the student’s last semester of study. The independent study consists of check-ins with the director and a final 8-page paper on the student’s internship experience, including a discussion of how their PCP courses prepared them for their work in publishing.