UNO Ireland: Writing Workshops & Creative Arts

June 20 - July 22, 2017

 

2017 Applications are now being accepted.

 

 

All courses listed at 4000/5000 level may be taken by
both undergraduate and graduate level students.

Proposed Courses

Course Number

Course Title

Faculty

Syllabus

Open Seats

 

Section I

Morning Session: 9:30-11:45 MTWR

ENGL 6171 Intensive Fiction Writing Fredrick Barton
1
ENGL 4161/5161 Advanced Fiction Writing Elizabeth Collison
1
ENGL 2161 Intro to Fiction Writing Jarred Marlatt
2
FTA 6207/6257
Intensive Script Writing James Winter
Cavan Hallman
3
FTA 4200/4251 Advanced Scriptwriting James Winter
Cavan Hallman
4
 

Section II

Afternoon Session: 1:00-3:15 MTWR

ENGL 6174 Intensive Nonfiction Writing Sonja Livingston
Kaethe Schwehn
1
ENGL 4154 Advanced Nonfiction Writing Sonja Livingston
Kaethe Schwehn
3
ENGL 2090 Irish Ghost Stories Robin Werner
4
FTA 4330/5330 Acting Styles
4
 

Section III

Evening Session: 3:30-6:15 MWR

ENGL 4380/5380 Irish Literature & Culture
Mary Breen
1
ENGL 4391.1/ 5391.1 Sexuality in Fiction Elizabeth Steeby
4
FTA 4591/5591 Ireland in Cinema Laura Medina
4
 

Section IV

Independent Study

ENGL 4392
FTA 3090
Directed Study/Internship Varied    
Directed Study/Internship Varied  
Thesis Research Varied  

 

The basic cost of the program includes tuition for six credit hours (two classes). Students may enroll in up to nine credit hours, or one class in each session, for an additional fee. When completing your online application, please select your first and second choice in each relevant section, keeping in mind that you cannot enroll in two classes that meet at the same time.

 

For information on our non-credit Cork Writers' Retreat, available to post-graduates and other non-degree seeking students please click here.

 

CLICK BELOW TO
APPLY NOW

 

ENGL 6171
Intensive Fiction Writing

A workshop in graduate fiction writing, taught in an intensive (short term) format, in residence. Intensive Fiction Writing is intended to assist aspiring writers to become better and more instinctive at their craft. Close attention is given to the structure and language that propel plots and make characters come alive. Students should have extensive prior experience in creative writing, or receive the written consent of the instructor. The course consists of four primary activities:

1. Writing stories (three per student)
2. Reading and discussing stories
3. Critiquing and annotating your classmates' work
4. Attending and participating in student readings.


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ENGL 4161/5161
Advanced Fiction Writing

A workshop in advanced fiction writing, taught in an intensive (short term) format, in residence. Advanced Fiction Writing is intended to assist aspiring writers to become better and more instinctive at their craft. Close attention is given to the structure and language that propel plots and make characters come alive. Students should have prior experience in creative writing, or receive the written consent of the instructor. The course consists of four primary activities:

1. Writing stories (three per student)
2. Reading and discussing stories
3. Critiquing and annotating your classmates' work
4. Attending and participating in student readings

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ENGL 2160
Introduction to Fiction Writing

This course provides students the opportunity to receive constructive feedback on their creative writing and participate in the critiques of peer work. Workshops of student writing, as well as discussions of the assigned reading, will help beginners create and revise poems, fiction, and creative non-fiction.

We will focus on particular elements of creative writing that are essential to writing in any genre, including character, plot, conflict, description, detail, dialogue, imagery, tension, lyricism, rhythm, and others. We will learn to navigate and read the world as writers and to understand that everything around us has the capacity to inspire creative work.

This course will be primarily a writing course. We will also read various examples of canonical and contemporary prose and poetry in order to discuss craft and technique as well as develop a literary vocabulary to facilitate our discussion. We will use writing exercises to prompt in-class and out-of-class writing. By the end of the semester, each student will have produced:

1. Three creative works in at least two genres
2. Informal and in-class writing in all three genres
3. Written feedback for the submitted work of all their classmates
4. A presentation on a work, author, or element of literature

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FTA 6207/6257
Intensive Scriptwriting

Studies and practice in writing scripts for the stage and film, taught in an intensive (short term) format in residence. Students should have prior experience with script writing, or receive the written consent of the instructor.

This course is designed to enhance the student's basic knowledge of the process of writing and developing a script for the stage or the screen, and to demonstrate and develop techniques for writing works intended for performance. Students should improve their knowledge of the collaborative process when developing work for the stage and screen and of taking a performance piece from concept to produced script.

Prior to the first class meeting in Cork, each student must submit a clean first/initial draft ready for reading and discussion. If you are generating a piece over the course of the workshop, an initial partial draft coupled with a thorough outline must be submitted. You will be expected to thoroughly discuss each of your classmates’ submitted assignments in class. You will also be expected to work directly with the actors and any other theatre artists contributing their time to the development of your pieces. All comments, interactions and responses are expected to be thorough and constructive.

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FTA 4200/4251
Advanced Scriptwriting

An advanced undergraduate course in the study and practice of writing original scripts for the stage or screen, taught in an intensive (short term) format, in residence.  Students should have some prior experience with script writing or the creative writing workshop format, or receive the written consent of the instructor.

This month-long writing intensive challenges students to work on multiple fronts simultaneously: revise, research, develop and write.  It is designed to enhance the student’s basic knowledge of the process of writing and developing a script for the stage or screen, and to demonstrate and develop techniques for writing works intended for performance.  Students should improve their knowledge of the collaborative process when developing work for the stage and screen and of taking a performance piece from concept to produced script.

By the end of the summer term, students in this course will be able to: Further enhance the scriptwriting process as an advancement of previous work; explore and develop the basic skill sets needed for writing and developing a script for the stage or the screen; demonstrate and develop techniques for writing works intended for performance; understand how to take a performance piece from concept to produced script; implement the collaborative process as it pertains to developing work for the stage and screen.

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ENGL 6174
Intensive Nonfiction Writing

A workshop in advanced nonfiction writing, taught in an intensive (short term) format, in residence. Creative nonfiction writing describes real events, places, and lives using the techniques of fiction (character, dialogue, POV, and scene) and the elements of poetry (attention to language, associative leaps, experimental form). Creative nonfiction writers combine two contexts--the world of fact, and the techniques of literature--to tell a true story packed with information, grace, power, and clarity. Though we write from reality, literary nonfiction writers must learn to shape, finesse, and deepen. The focus is learning to write our experiences in such a way that others will want to read them.

Each student submits three pieces for the workshop, as well as critically reads the work of others and sample essays, providing written feedback and promoting discussion in an environment that is respectful and dynamic. Students are also expected to attend and participate in the student readings.

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ENGL 4154
Advanced Nonfiction Writing

An advanced workshop in undergraduate nonfiction writing, taught in an intensive (short term) format, in residence.  Creative nonfiction focuses on writing real world experiences with personality and style.  In this workshop, you’ll write creative nonfiction and respond critically to the work of others.  The purpose of this course is fairly straightforward: to help you become a better writer of creative nonfiction.  Because we’ll be reading, discussing, and learning in Ireland, a country to which most of us are not native, I want to think together about what it means to be a citizen, to be an inhabitant of a particular place at a particular moment in time.  We’ll discuss the tools available to creative writers, regardless of genre, including language, dialogue, scene, structure and form, tense/POV, details, and sensory descriptions.  Insofar as the self is always a current (however large or small) in creative writing, we’ll talk and explore the idea of positioning the self within the wider scopes of history, society, and nation.  Because the work is taken from life, the challenge (and thrill) is to explore threads of memory, observation, and/or research that most intrigue you and mine them for their riches.  Success in the course is dependent both on your ability to engage your reader on the page and your ability to articulate how an essay functions (or could function better) in the work of your peers. 

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ENGL 4380/5380
Irish Literature & Culture

This intensive reading course emphasizes primary texts and their representation of Irish culture and landscape over the last one hundred years. We will read many of the major Irish works of fiction and nonfiction of the twentieth and early twenty-first centuries. We will also pay attention to the complex and innovative narrative techniques that the authors employed in the construction of their novels and autobiographies. The class will give a general introduction to all of the novels, their structures and central themes, and also the historical and cultural settings from which they emerge. Students will be graded on two papers (one short, one long) a class presentation, and a journal recording the student’s reflections on the excursions.

Required texts may include stories, novels, memoirs, and excerpts by James Joyce, Elizabeth Bowen, Edna O’Brien, Molly Keane, Samuel Beckett, Colm Toibin, Seamus Deane, and John McGahern.

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ENGL 4391.1/5391.1
Sexuality in Fiction

When I was sixteen I picked up a can of peas in a grocery store and could feel from the can that it had just been touched by a man who would love me better than anyone had ever loved me and I panicked.
                        --CA Conrad, “The Queer Voice”

This course will advance students’ understanding of sexuality studies and U.S. American, British, and Irish literature through analysis of multiethnic 20th and 21st-century novels and short stories. As much as possible, we will connect popular culture to literary narratives that represent lived and imagined sexualities, desires, and bodies that are dynamic and often unresolved. For example, how does literature challenge our preconceived notions that sexuality can be reduced to "gay"/ "straight", "normal"/ "perverse"? We will also read theoretical and analytical texts provide us with contexts and methodologies for understanding constructs of sexuality as they intersect with formations of race, gender, and class. Through the assigned literary works, we will approach sexualities as lived realities and as systems of meaning that change over time and vary with context.

POTENTIAL TEXTS: James Baldwin, Giovanni's Room; Eileen Myles, Chelsea Girls; Leslie Feinberg, Stone Butch Blues; Colm Tóibín, The Master; Jeanette Winterson, Orange Is Not the Only Fruit; Sarah Waters, Tipping the Velvet; Chris Kraus, I Love Dick; Louise Erdich, The Round House; Justin Torres, We the Animals; and short works by Edna O’Brien, Andrea Levy, Junot Diaz, Jessica Hagedorn, Kathy Acker, Audre Lorde, Mary Gaitskill, and others. 

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ENGL 2090
Irish Ghost Stories

Ghost stories are one of the most consistently popular genres and telling ghost stories has long been a quintessentially Irish tradition.  As I’ve found, teaching my popular courses on Vampires and Monsters, horror literature reveals much about the culture that produces it and makes for both fascinating class discussions and compelling student research projects.  This course will center in on the Irish tradition of the ghost story, encouraging students to consider these texts from both a cultural and a psychological perspective.  Students will read a wide variety of tales both ancient and modern including stories by authors like Patrick Kennedy, George Moore, Oscar Wilde, W. B. Yeats and Rosa Mulholland.  Since some of the most famous hauntings in Ireland are actually in County Cork, students might be interested in field trips to sites such as: Belvelly Castle (haunted by the vain, 17th century Lady Margaret), Cork District Lunatic Asylum (with its ghostly inmates), or Cork City Gaol (with its green shawled female prisoner).  All do regular night tours.

By the end of the semester, students will be able to effectively analyze the elements of the fiction genre and discuss the historic, cultural and psychological implications of these texts.  They will conduct independent research to produce thoughtful and insightful writing on the theme of the course.  The course will require two papers.  One shorter project (with a creative writing option) and one longer paper involving critical research.  The course will also test students in a final exam. 

Student Learning Outcomes:

  • Exhibit proficiency in Rhetorical Knowledge
  • Exhibit Proficiency in Critical thinking, Reading and Writing
  • Exhibit Proficient knowledge of Literary History of Ireland
  • Exhibit Proficiency in Critical Analysis of literary texts

Specifically, after successfully completing this course, students will be able to:

    • Create effective oral and written arguments
    • Organize thoughts logically and coherently both orally and in writing
    • Demonstrate familiarity with the genre of Monster literature
    • Conduct Library Research effectively
    • Evaluate sources, incorporate ideas and texts of others, while avoiding plagiarism
    • Write persuasively and in depth on a topic of their own choosing

 

Required texts:

Irish Ghost Stories by David Stuart Davies ISBN-13: 978-1509826612
Additional readings may be assigned.

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FTA 4330/5330
Acting Styles

This course is designed to help everyone from the creative writer who has trouble with public speaking to the emerging playwrights and screenplay authors who have the rare opportunity to test-drive and develop new work with actual performers. After some basic ensemble and skill-building course work, students will workshop, rehearse and perform segments of original pieces being developed by the script-writing class. Topics to be considered:

1. Basic methods of warming up physically and vocally
2. Ensemble and focus work
3. Explorations in moment-to-moment reality
4. Script analysis from a performance vantage point
5. Addressing blocks to creative expression through performance
6. The collaborative process for writers and performers
7. Influence of early and “test” audience reactions on script development and performance

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FTA 4591/5591
Ireland in Cinema

This course will examine films by native and International directors which are set in and filmed in the country where we are studying. How do these films compare in their portrayal of the landscape, culture and people? The classes will combine screenings, discussions and field trips (to filming locations and other film related excursions).

 

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ENGL 4391 or FTA 3090
Directed Study
/Internship

Admission by permission of Academic Director and advising professor. Qualifying undergraduate students may take 3 hours of Directed Study in the genre of their choice. Counts toward nine-credit summer course limit.

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ENGL 6397 or FTA 6090
Directed Study
/Internship

Admission by permission of Academic Director and advising professor. Qualifying graduate students may take 3 hours of Directed Study in the genre of their choice. Counts toward nine-credit summer course limit.

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ENGL 7000
Thesis Research

Admission by permission of Academic Director. Qualifying UNO MFA students may take 3 hours of Thesis Research. Counts toward nine-credit summer course limit.

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All for-credit students will receive a transcript for their participation.  This official transcript can be sent to the appropriate home institution at the participant's request, after a final assessment and payment of room damages and other remaining charges.  If you have any questions about the transcript process, please feel free to contact the Writing Workshops Abroad office.


 

For more information about the Writing Workshops Abroad, please contact:
Program Coordinator, Jarred Marlatt, Division of International Education
writingabroad@uno.edu | 504-280-7345 | (During Program) 353 894 976 697

 

University of New Orleans, Division of International Education, 2000 Lakeshore Dr., New Orleans LA 70148
phone 504-280-7116; fax 504-280-7317; e-mail isp@uno.edu

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