DEPARTMENT OF ENGLISH

Course Description: This course will introduce students to the major elements and tools of poetry, fiction, and creative nonfiction writing. Through exercises and projects, you’ll practice using these tools to produce original, exciting works of literary art. Along the way, you’ll sharpen your ability to track these elements both in published texts and in the work of your classmates, and further develop how you measure aesthetic value. You’ll be encouraged to see yourself as an active member of a community of artists, and to establish a regular discipline as a working writer. Writing and reading will be due in nearly every class, and peer workshop will play an important role in learning to see your work more objectively.

Teaching Methods: Discussion.

Evaluation Methods: Evaluation of a final portfolio.

Texts include: A course reader.

[Prerequisite to English Major in Writing]

Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other class members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course.

Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems.

Evaluation Method: Evidence given in written work and class participation of students’ understanding of poetry; improvement will count for a great deal in estimating achievement.

Texts include: An anthology, a critical guide, a 206 Reader prepared by the instructor, and the work of other students.

Prerequisites: No prerequisites. No P/N registration. Attendance of first class is mandatory. Prerequisite for the writing major and sequence-based minor.

Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique.

Teaching Method: Discussion of readings and principles; workshop of student drafts.

Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement.

Texts include: Selected short stories, essays on craft, and the work of the other students.

Prerequisites: No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors.

Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique.

Teaching Method: Discussion of readings and principles; workshop of student drafts.

Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement.

Texts include: Selected short stories, essays on craft, and the work of the other students.

Prerequisites: No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors.

Course Description: An introduction to some of the many possible voices, styles, and structures of the creative essay. Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision.

Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work.

Prerequisites: No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors.

Course Description: This course harbors two primary objectives: 1) to acquaint students with vocabularies and frameworks of argument required to analyze film in terms specific to that medium; and 2) to familiarize students with a broad range of written texts crucial to the study of cinema, enabling them to render persuasive interpretations of those texts, as well. The first half of the course will emphasize recent case studies of literature adapted into popular movies, tracking how not just the plots and characters but the perspectives, voices, structures, prose styles, and associated politics of written work get preserved but also transformed on screen, in blatant and subtle ways. In the second half, we will reverse course to examine plays, essays, and other literary works inspired by the movies. Cultivating techniques of close analysis—whether breaking down a film sequence, parsing a scholar’s arguments, or negotiating between two versions of the “same” story—will be the paramount skill developed in the course, hopefully leading to deeper appreciations of several kinds of texts.

Lectures, discussion sections, and assignments will presume no prior coursework in film studies, but they will require quick, studious absorption of terms and concepts that might be new. Moreover, the course requires a willingness to put movies and other assigned materials under close observation and interpretive pressure, while hopefully retaining the joy of watching, reading, and evaluating them.

Teaching Method: Twice-weekly lectures as well as weekly discussion sessions.

Evaluation Method: Graded writing assignments; lecture quizzes; section participation.

Assignments: Writing assignments will include one conventional, argument-driven essay of 4 5pp. (around mid-quarter), a similar essay of 6-7pp. (as a final), plus two shorter, skill-building exercises of 1-2pp. (around Weeks 2 and 7). At least one quiz will be administered to confirm absorption of key concepts and film-specific vocabularies.

Readings: Most assigned readings and all assigned films will be available free on Canvas, with the exceptions of Nella Larsen’s Passing (ISBN: 0593437845), Arthur Miller’s Death of a Salesman (ISBN: 1973762196), Annie Baker’s The Flick (ISBN: 1559364580), Ron Stallworth’s Black Klansman (ISBN: 1250299055), and Charles Yu’s Interior Chinatown (ISBN: 0307948471). The combined costs for these texts on Amazon total around $50.

Films: Movies screened in whole or in part are likely to include Arrival (2016), Birdman (2014), Passing (2021), BlacKkKlansman (2018), Pulp Fiction (1994), The Salesman (2016), and Everything Everywhere All at Once (2022).

Course Description: This course explores the linked histories of poetry and performance across the Americas (from Harlem to Havana, and from Chicago to Mexico City and Buenos Aires). We’ll focus especially on modern and avant-garde poetry and dance from their origins to the present. Along the way, we’ll consider how experimental writers and artists of color navigated racial discrimination, how poets and performers understood their relationship to national and international politics, and how their extraordinary formal experiments in language and embodiment sought to imagine new social possibilities. Students will learn to describe how the expressive capacities of poetry and dance have shaped major episodes in 20^th and 21^st century cultural history. 

Poets may include: José Martí, Rubén Darío, William Carlos Williams, Langston Hughes, Gwendolyn Brooks, Amiri Baraka, Pedro Pietri, and Claudia Rankine. Performers may include Isadora Duncan, Martha Graham, Katherine Dunham, Pearl Primus, José Limón, Merce Cunningham, Eleo Pomare, Bill T. Jones, and Will Rawls.

Course Description: TBA

Note: This course is combined with LATINA/O ST 277 and SPANISH 277.

Course Description: We live in a moment on the brink of change. From political uncertainty and looming climate catastrophe to long overdue calls for racial justice and an understanding of gender beyond the binary, our future is taking shape in ways we couldn't have imagined. Or, could we? How do the monsters, ghosts, mermaids, and rebels who fill the pages of young adult speculative fiction help us reflect on our world today? How does YA speculative fiction, with its interest in utopian and dystopian societies, think through the moral dilemmas and new possibilities that await us? Focusing particularly on speculative fiction by Queer and BIPOC authors, this class will ask how these texts respond to questions of fascism and governmental control, climate change, technology, gender and sexuality, disability, and race. We will investigate speculative YA fiction through the lenses of childhood studies, queer theory, Afrofuturism, environmentalism, and disability studies, to name only a few. In so doing, we will ask: how does speculative fiction help us imagine new possible futures? And why are young adult characters–and readers–the prime site for exploring these concerns?

Teaching Method: Seminar discussion.

Evaluation Method: Participation, in-class presentation, papers.

Texts include: Legendborn by Tracy Deonn, The Hunger Games by Suzanne Collins, Elatsoe by Darcie Little Badger, Legend by Marie Lu, A Song Below Water by Bethany C. Morrow, and The City We Became by N.K. Jemisin, plus theoretical readings.

Texts will be available at: Bookends and Beginnings (1712 Sherman Avenue); individual readings available through Canvas.

Course Description: Students will be invited to write and produce multiple prose and poetic works, layering the spoken word with evocative sonic textures, tones, music, and sometimes - shocker - even silence. This course will place equal emphasis on literary quality, vocal performance and production value. We will spend ample time on computers, learning and perfecting various audio production methods, taking cues from the best of contemporary radio practice by listening in on the rich and varied soundscapes of podcasts such as "Uncivil" and "Twenty Thousand Hertz", as well as broadcast mainstays like "This American Life" and "Radiolab". We will sample the beautifully layered soundscapes of Miranda July, Laurie Anderson, Joe Frank, Delia Derbyshire and many other sonic greats. Open to writers of all genres and all skill levels.

Course Description: For most of the twentieth century, scholars thought there were virtually no medieval women writers.  “Everyone knew” that women couldn’t read and the Church didn’t allow them to write.  But the feminist revolution changed all that, as dozens of women writers were rediscovered, edited, and translated.  Yet even today, some of the most widely read medieval women still pose challenges.  In this class we will read four women writers in depth, giving us time to delve into the critical literature and discuss the issues that vex their place in the canon.  In the twelfth century, the popular romance poet Marie de France (who wrote in French but lived in England) proudly signed her work—because she feared, with good reason, that “some cleric” or learned man would claim credit for it.  Late medieval England’s most important women writers, Julian of Norwich and Margery Kempe (who knew each other), were long consigned to a religious ghetto.  Kempe in addition was pathologized as a hysterical female.  Finally, the prolific French writer Christine de Pizan became the first professional author in Europe—that is, the first of either sex to support herself and her family solely by writing. She was translated into English in the early modern period.  Despite her explicit feminism, however, her signed works were often ascribed not to her, but to their male translators.  This course will have a triple focus on the texts themselves, the difficulties faced by medieval women writers in their time, and their post-medieval reception.

Teaching method: mostly discussion, a few lectures.

Requirements: regular attendance and participation; three 5-7 page papers, at least one of which will be a creative option.

Books: Available at Norris or online, but you must buy only these editions and translations. There may also be a course packet at Quartet.

• The Lais of Marie de France, ed. and trans. Claire Waters (Broadview, 2018) – ISBN 9781554810826
• Julian of Norwich, Revelations of Divine Love, trans. Elizabeth Spearing (Penguin, 1998) – ISBN 9780140446739
• The Book of Margery Kempe, ed. and trans. Lynn Staley (Norton Critical Edition, 2001) – ISBN 9780393976397
• Selected Writings of Christine de Pizan, ed. Renate Blumenfeld-Kosinski, trans. Renate Blumenfeld-Kosinski and Kevin Brownlee (Norton Critical Edition, 1997) – ISBN 9780393970104
• Christine de Pizan, The Book of the City of Ladies, trans. E. J. Richards (Persea, 1998) – ISBN 9780892552306

Course Description: Books and sex go hand in hand. We use books and other writing technologies to express desire, enjoy our sexuality, and explore and define our gender identities. Likewise, cultural anxieties about sex and gender often center on books, as recent calls to ban texts with queer themes from schools and libraries around the U.S. demonstrate. To make sense of the fascinating, often fraught relationship between sex, gender, and written media, this course focuses on a key period in Anglophone literary and sexual history: the so-called Renaissance, when book production exploded thanks to the printing press and England was rocked by rapid cultural, racial, and religious upheaval. Examining representations of sex and gender in books, manuscripts, maps, printed images, and other textual media from sixteenth- and seventeenth-century England, we will ask: how did different communities share ideas about sex? What could be published in print and what had to stay private? What texts survive today, and why? What distinguishes art from obscenity? In the process of exploring these questions, students will have the opportunity to work hands-on with premodern books.

Teaching Method: Discussion, occasional short lectures, group work.

Evaluation Method: Presentation, participation, writing portfolio.

Texts include: Selected poetry, prose, visual texts/images, and secondary readings (available online).

Texts will be available at: Canvas and elsewhere online.

Course Description: In nineteenth-century Britain, a transportation revolution forever altered how people move through the world. Although spurred in large part by technological innovations such as the advent of railway travel, this revolution also unfolded in the pages of newspapers, novels, and other literary texts. This course will explore how literature shaped meanings and experiences of travel across the nineteenth century. How did Romantic poetry help transform the mundane act of walking into a respected leisure activity (aka “hiking”)? How did Victorian novels help process the shock of railway travel? How did Black transatlantic writers give voice to diasporic experience within a predominantly white British literary marketplace? These questions will take us through the English countryside, along dark Victorian streets, and across the Atlantic, guided by authors including William and Dorothy Wordsworth, William Hazlitt, Mary Prince, Jane Austen, Charles Dickens, Mary Seacole, and Bram Stoker. While exploring how nineteenth-century authors used representations of travel to grapple with pressing issues of their day, we will also consider the ongoing legacies of these issues in contemporary culture and lived experience. To that end, the course will include several short excursions in the Chicago/Evanston area.

Teaching Method: Mini-lectures, class discussion, group work, field trips.

Evaluation Method: Students will be graded based on class participation, short papers, a presentation, and a final project.

Texts include: The only required text for purchase will be Mary Seacole’s Wonderful Adventures of Mrs Seacole in Many Lands (Penguin, 2005, ISBN: 978-0140439021).

All other materials will be provided as PDFs or are available free online. These include short works by William and Dorothy Wordsworth, William Hazlitt, Charles Dickens, and Virginia Woolf and excerpts from longer works, including Jane Austen’s Pride and Prejudice, Mary Prince’s History of Mary Prince, the anonymously authored The Woman of Colour, and Bram Stoker’s Dracula. Course materials may also include selected films, short videos, and visual works.

Course Description:Novels often describe real and complete worlds that is proximate to our own, with entirely imaginary people going about their daily lives as if in a continuous hut parallel universe.  This process is called worldling and is now an established concept. But what happens when the contract with the “real world” is broken and instead writing reanimates myths, folktales, legends, and more within the real? What kinds of new worlds does this open up and how might it interfere with the conception of literature?Around 1950, Latin American writers began to break away from “realist” writing to explore a realm between the real and the magical, giving rise to what is now the established style of “magical realism.” 

To understand this overall movement from realism to magical realism, this course will begin with a consideration of realist writing and its reliance on the simulation of reality, aka verisimilitude, in the first few weeks. After understanding some basic tenets of realism, we will turn to Latin American, South Asian, and American sites of magical realism that stage a revolt against the dictates of the real.  We will consider how paying close attention to the deployment of this style can yield significant political interventions, particularly around anti-imperial and anti-racist discourses. Fiction will include texts like Gabriel Garcia Marquez’s The Chronicle of a Death Foretold, Salman Rushdie’s The Satanic Verses, and Toni Morrison’s The Song of Solomon. The course will also foray into theoretical work that helps to situate the importance of magical realism and its variations. Assignments will be modest, with two short close-reading papers, a presentation, and a final comparative paper.

Course Description: Students in this course will take a global tour of canonical and recent short fiction. Ranging over masters of the short story from Gogol to Kafka, Gordimer to Ngũgĩ, and Melville to Baldwin, we will conclude by turning to contemporary American authors Ted Chiang, Kelly Link, and Dantiel Moniz. The class will analyze the widely varying techniques by which stories from different cultures and perspectives achieve “unity of effect.” We will pay particular attention to how these stories reflect, and construct, a national imaginary. Tales of alienation in the Russian caste system, intricate thought experiments from Argentina, and distillations of early American experience beguile us with their elegance even as they rewrite the narratives and myths of nationhood. Through theoretical accounts of national identity and close readings of the dialogues, details, and symbols that give a story its resonance, students will gain broad familiarity with the global history and current state of short fiction. Readings will be supplemented with seminal film adaptations such as All About Eve and Brokeback Mountain.

Teaching Method: Seminar discussion.

Evaluation method: Essays and class participation.

Texts include: Chiang, Stories of Your Life and Others; Poe, Philosophy of Composition; Anderson, Imagined Communities.

Texts will be available at: Norris.

Course Description: Urbanologist Yi Fu Tuan writes, "What begins as undifferentiated space becomes place when we get to know it better and endow it with values." In The Untouchables, Sean Connery tells Kevin Costner, "You want to get Capone? Here's how you get Capone. He pulls a knife, you pull a gun. He puts one of yours in the hospital, you put one of his in the morgue. That's the Chicago way." In this class, we will examine "the Chicago way" from many different angles in order to interrogate the values with which various artists have endowed Chicago. We will read in a broad range of media: journalism, poetry, song, fiction, film, and sequential art to see how a sense of Chicago as a place works over time. We will pay close attention to depictions of the construction of American identity, and to the role of the artist and intellectual in the city.

Teaching Method: Discussion and brief lectures.

Evaluation Method: Class participation; brief written responses to each text; several options for papers of various lengths.

Texts Include: Nelson Algren's Chicago: City on the Make and The Neon Wilderness; Richard Wright's Native Son; Stuart Dybek's The Coast of Chicago; journalism by Mike Royko; short fiction by Sandra Cisneros, James T. Farrell and others; poetry by Carl Sandburg, Eve Ewing, Gwendolyn Brooks, Tony Fitzpatrick and others; the films The Untouchables, The Blues Brothers, and Barbershop; the graphic novel 100 Bullets: First Shot, Last Call.

Note: Texts will be available at Norris.

Course Description: We often think of the humanities and sciences as opposite pursuits. While the humanities seem to focus on subjectivity and feeling, we see the sciences as objective and fact-based. Yet attending to the history of medicine demands a troubled acknowledgement that medical inquiry both shapes and is itself shaped by cultural assumptions about race and gender. Indeed, critics have pointed time and again to how the seeming impartiality of medical fact reveals biases about which kinds of bodies feel pain and who is prone to certain diseases, distinctions that have been assigned moral and social meaning. In this class, we will read literature about medical encounters in order to investigate how ideas about race and gender shape medical experiences. How do these individual accounts reflect larger structural injustices? What kinds of barriers and assumptions do women and people of color face when they receive treatment? What about people seeking gender affirming care? Beginning with the nineteenth century and moving towards the present day, we will examine the surprising history of how medical knowledge often depended on the exploitation of racialized bodies, grapple with the tangled enmeshment of femininity and illness, and explore how claims about medicalized bodies became a metric for citizenship.

Teaching Method: Seminar discussion

 Evaluation Method: Participation, in-class presentation, papers/final project

Texts include: “The Yellow Wallpaper” (1892) by Charlotte Perkins Gilman, The Bell Jar (1963) by Sylvia Plath, The Cancer Journals (1980) by Audre Lorde, Some Assembly Required: The Not-So-Secret Life of a Transgender Teen (2014) by Arin Andrews, and Black Man in a White Coat: A Doctor’s Reflection on Race and Medicine (2015) by Damon Tweedy.

Texts will be available at: Norris; individual readings available through Canvas

Course Description: This course begins not from the premise, necessarily, of an intellectual and political genealogy of black women. Rather, this course is one that thinks black feminist theory and theorizing; this course chronicles the ways that the political, intellectual, ethical, and social resound radically and progressively and names that resonance—and all its vibrations and textures—black feminist theory. Thus, we will, of course, be reading a variety of black women along the jagged gendered spectrum between and beyond “cis” and “trans,” but more specifically we will, in this course, be tracing the ways radical politics and ethics arise in such a way as to interrogate the established parameters of race and gender normativity. To do this, we will be reading the work of people like bell hooks and Patricia Hill Collins, Toni Morrison and Zora Neale Hurston, Jennifer Nash and Hortense Spillers, and more.

Course Description: From the Civil Rights Movement to the AIDS crisis to the legalization of gay marriage, LGBT art and activism have been deeply intertwined.  Queer writers in the U.S. have negotiated ever-shifting priorities and stigmas to represent queer life in literature and media. Yet stories have always been a way to have a voice, to account for oneself and one’s community, and to connect to others who share one’s experience. LGBTQ literature might be outward facing—representing queerness to a straight audience—or it might face inwards, speaking to a queer community of readers. This class will consider the relationship between sociopolitical movements and the art and literature that were produced from or around them. Focusing on flashpoints in the history of LGBTQ rights and culture in the United States, students will leave this course with a concrete sense of recent history, artistic diversity, and intersectional queer studies. In addition to a core set of literary and historical texts, students will give queer culture presentations on each of the primary periods this class covers. These presentations will provide the opportunity to bring in objects from outside of the class, which will supplement our understanding of queer art and activism.

Teaching Methods: Discussion of assigned texts, as well as supplementary material presented in class.

Evaluation Methods: Participation, short presentation, reflections, final paper or creative project.

Texts Include: Patricia Highsmith, The Price of Salt (1952); James Baldwin, Giovanni’s Room (1956); Rita Mae Brown, Rubyfruit Jungle (1973); Tony Kushner, Angels in America (1991); Alison Bechdel, Fun Home (2006). In addition, we will read a series of activist documents, short stories, and essays, and watch the documentary How to Survive a Plague (2012).

Texts Will Be Available At: Novels will be at Beck’s Bookstore; all other essays and films will be on Canvas.

Course Description: This selective-enrollment, yearlong "Sequence" is designed to make students 64 Return to Calendar increasingly informed readers and self-sustaining apprentices of poetry. The Fall portion of the course begins with summer reading and intensive study in which poets learn to identify operative modes in poetry -- including description, rhetoric, story and song -- and begin connecting contemporary participants with root systems in the tradition. We support our studies with reading exercises and "imitation" assignments, in which students convert close reading into fodder for original writing. Students will write at least four papers and will write, workshop and revise four poems during the Fall term. They also will lead presentations on one chosen poet and one classmate during workshop. In the Winter term, students will continue to read and complete close reading assignments and will stretch their skills as they complete a week of "Daily Poems," thereby drawing on original energy and stamina to bring their work to the next level of accomplishment. Finally, in the Spring term, students will focus entirely on their own work, drafting, revising, workshopping and completing one long poem of at least 120 lines that combines autobiographical material with writing from research. Throughout the year, our close reading assignments hone skills in sensitive and critical thinking; our imitation poems challenge existing habits as they introduce new strategies; our Daily Poems exercise agility and confidence; and our workshops cultivate the openness and humility necessary to serious writing and lifelong learning. Through this intensive and nurturing Sequence, students become careful readers of each others -- work and complete a polished portfolio of original writing.

Note: No P/N registration. Attendance at first class mandatory. Admission by application only.

Teaching Method: Discussion.

Evaluation Method: Based on creative and critical work; class presentations and participation.

Texts Include: Varies each quarter. Texts will be available at Norris Center Bookstore and Quartet Copies.

Note: No P/N registration. Attendance at first class mandatory. Admission by application only.

Course Description: TBA

Course Description: This course focuses on a recent profusion of criticism in the “blue humanities,” which we will define as the cultural study of marine and aqueous environments, especially as these spaces shape discourses of environmentalism and political geography. Although we may give some attention to urban hydroscapes, lakes, and rivers, we will mostly focus on the world’s oceans. In constructing our object of inquiry, the course takes an interdisciplinary approach, drawing on literary theory, art history, Black studies, postcolonial studies, environmental and labor history, legal studies, and media theory. Scholars may include Sekula, Rediker, Hofmeyr, Khalili, Sharpe, Blumenberg, Blum, Bolster, and a few novels and films such as Joseph Conrad’s Lord Jim, Claude McKay’s Banjo, Nadifa Mohamed’s The Fortune Men, or Francisco Goldman’s The Ordinary Seaman (to be finalized with student input).

Course Description: Our collective goal in this workshop is to help each member prepare a scholarly article for submission by the end of the quarter. Each member will work to develop and revise a promising seminar project or a dissertation chapter for publication in article form. We'll discuss how to think about and select a suitable journal, scholarly conversation, and audience; how to fit an article's frame, argument, and rhetoric to the journal and its audience; how to identify and address any weaknesses in research, argument, structure, and style; how to decide where and how to cut and compress the argument, where and how to develop or expand it; how best to organize the article; how to write a strong, attention-catching lead; how to follow a journal's style sheet; how to check references with meticulous care; how to submit the article for publication; and how to respond to readers’ reports. We'll also consider broader issues of scholarly publication, such as pros and cons of publishing in edited volumes, special journal issues, and online venues; whether and how to publish work that forms part of a future monograph; and how scholarly publication relates to publication for a wider, non-specialist audience. Workshop members will be analyzing and critiquing their own and each other’s submissions. Each will also receive feedback from the instructor and, where possible, from a specialist colleague in the field. Each will work closely with the instructor and workshop members on successive drafts.

"Writing for Publication" is offered P/N and open to all students in candidacy with their advisers' consent. Should demand be high, Ph D candidates in English who are nearing the job market will have enrollment priority.

Teaching method: Seminar discussion and workshop.