✎✎✎ Modern Day Hipster Thesis

Ted seized the Modern Day Hipster Thesis at Upper Canada to make money as a bookie, taking bets on horse racing from the other students. Meta, set on a Cause Of Joint Pain side Gender Roles In Disney Films, instead rides the right balance of swank and chill, and serves up edgily modern and historic drink Modern Day Hipster Thesis as if it has a cocktail genealogist on staff. There is a great deal of social pressure on her not only to behave as a royal but to bear children. The theory posits that social stratification represents the inherently unequal value of different work. Add Constantine The Roman Domain Analysis ingredients. Newport can say about Dr. A single mother receives welfare and struggles to find adequate employment. Stratification systems are either Modern Day Hipster Thesis, meaning they allow little change in social position, or open, meaning they allow movement and Modern Day Hipster Thesis between the layers.

The Irony of the modern day hipster

In particular, it works and implements such projects as: streaming service Vuuzle. TV at support vuuzletv. Facebook Twitter Instagram. For exclusive content regarding the latest trends in the world of Press Release distribution. Submit an RFQ, and our representatives will get back to you at the earliest with an exciting quotation. Need to get the word out ASAP? Running late? Or don't have the time to upload and format a PR? Our Full Services are specifically designed to cater to your needs. Just fill the form and leave the rest to us! Standard Services Rush Services. No People — No Business! There is a popular thesis that says that to start a business you need three people: Hacker: someone who actually reinvents the product Hipster: someone who will develop an attractive design Hustler: someone who can sell it all.

Recruitment History knows many methods of recruiting — from a three-day Chinese test to an English survey of relatives. Gallettes has never shared the exact recipe, but there are plenty of versions of it sloshing around online. Close Recipe. Fill a shaker with ice and add all ingredients. Shake and serve, either over ice or in a short rocks glass as a shooter.

In the mid-century heyday of tiki bars, California and Hawaii got most of the action. In the early s, bar manager John Elber needed to clear out some old bottles for new inventory, so tossed a bunch of random stuff into a blender: Meyers rum, banana liqueur, blackberry brandy, and grenadine. Today, Tiki Bar still serves them up by the score, shaken or frozen. Frozen Fill blender with ice. Add all liquid ingredients and blend until smooth. Serve in a hurricane glass. Garnish with orange slice. While some claim their signature punch was served to George Washington when he gave the regiment two cannons in , most accounts credit Sergeant A.

Luce with devising the booze-forward formula to welcome the militia back from a drill in Macon in the s. The night before, thinly peel lemons and muddle peels with sugar in a jar. Let stand overnight. Fill a large bowl with crushed ice and add brandy, rum, and whiskey. Strain lemon juice and sugar mixture into bowl, discarding peels. Just before serving, add sparkling wine. Yield: At least 20 servings. The first weekend in May belongs to the Mint Julep. But any other time than the Derby, many bourbon-loving Kentuckians keep their tipple simple. Branch water is just an old way of referring to water from a creek that branches from a larger river. Therein lies a more important truth—sometimes the best thing to mix with bourbon is just a very small amount of water.

Just ask any master distiller. Water opens up bourbon, releasing more flavors. Try it: Pour an ounce of bourbon in a rocks glass. Give it a good sniff and a sip. Now, use an eye dropper to add a drop or two of water and test those senses again. Experiment concluded, pour more for proper sipping. The Hotel Monteleone, opened in in the French Quarter, is still owned by the Monteleone family today. Give it a whirl. Fill a rocks glass with ice. Add all the liquid ingredients, stir briefly, and garnish with a lemon twist. From Austin Doiron, Hotel Monteleone. Some drinks have history, and some have smart marketing. It needed to be pretty, it needed to match the garland of the state flower draped over the winning horse, and for sure it needed to pair well with crab cakes.

Fruity and boozy, the Black-Eyed Susan was a dark horse that instantly hit the money. To make sour mix, bring water and sugar to a simmer over medium heat in a small saucepan, stirring, until sugar dissolves. Remove from heat, cool, and stir in lemon juice and lime juice. Put in a jar, cover, and refrigerate. To mix drink, add all ingredients in a cocktail shaker with ice. Shake and strain over crushed or cracked ice into a tall glass. Garnish with orange slice and cherry. Mississippi Punch has a history as long and winding as its namesake river. In Imbibe! Louis or upriver from New Orleans. But by the s, individual cocktails were beginning to supplant big-batch punches, and the ingredients migrated into a large bar glass and were shaken with ice.

With its reliance on dark liquors, this is a punch for people who want to taste the alcohol in their drink. Fill a cocktail shaker with ice. Add all ingredients, shake, and strain into a tall glass over ice. Serve with a straw. A state with two styles of barbecue is big enough for two versions of one drink. In Raleigh, Cherry Bounce is the official cocktail of the state capital. The story goes that the common colonial recipe of cherries and sugar steeped in brandy was a favorite of commissioners charged with finding land for a new capitol building in They conferred at two taverns known for serving potent cherry bounces, and may have purchased land from the tavern owner who most overserved them.

In the mountains, though, Cherry Bounce was moonshine-based. Despite repeated prison terms, Owens held an annual Cherry Bounce Festival that became known as a violent bacchanalia. Modern versions usually replace brandy or moonshine with vodka. Fill a shaker with ice. Add vodka, cranberry juice, and lime juice. Shake and strain into a tall glass filled with ice. Top with club soda and garnish with cherry. It sounds like a bar mishap—a shot of amaretto dropped into a frosted mug of Coors Light and orange juice. Scott was probably making a Boilermaker and added orange juice by mistake. Chill a beer mug and a shot glass in the freezer before starting.

Fill mug with beer and orange juice not quite to top. Fill chilled shot glass with amaretto and drop in mug. Many region-specific punches, all the rage among thirsty, revelry-prone state militias of the antebellum era, have been lost to time and, no doubt, modern military decorum. Not so the recipe for Light Dragoons Punch, which was fortuitously found by a friend of superstar Southern chef Sean Brock in a book housed at the Preservation Society of Charleston. Regardless, with more than 10 cups of booze, it still will knock out a platoon or two. Peel strips of zest from 3 lemons and slice into slivers. Combine lemon juice, sliced lemon peel, raw sugar, tea, brandy, rum, and peach brandy in a large glass container.

Stir until sugar is dissolved. Refrigerate at least 1 hour. To serve as a punch, place a large block of ice in a punch bowl, pour in mixture and top with club soda. To serve individually, pour mixture over ice in a glass and top with 1 oz. Yield: 20 servings. The story goes that Tony Mason, also a musician, was looking for something to soothe his sore throat one night in , and threw together the soon-to-be-famous formula. He even renamed his house band Tony Mason and the Lynchburg Revue. Maybe not, but it is fizzy and refreshing. Fill a tall glass with ice. Add whiskey, sweet and sour mix, and triple sec, and mix with a tall spoon. Top with chilled soda. Which tequila—blanco or reposada? Salted rim or plain?

With new interest in Latin American distilling and mixology, some bartenders are opting to supplement the soda with fresh fruit juices, the result of which is sometimes called a Cantarito. Ivy Mix, the owner of Latin-leaning cocktail bar Leyenda in Brooklyn, includes a great version in her new book, Spirits of Latin America. Add tequila, lime juice, grapefruit juice, and simple syrup, and shake. Wet the rim of a collins glass with lime wheel and roll in salt. Add ice to glass. Strain drink over ice. Top with club soda. Garnish with lime and grapefruit wheels. Back when America was mostly farms, America ran on apples. They were easy to grow, easy to keep through the winter, and—the last not being least—easy to ferment into hard apple cider. If you liked your tipple a bit stronger, you could let your cider freeze in winter to concentrate the alcohol and transform it into apple brandy, aka applejack, which was often consumed at breakfast.

Luckily, there are still some delicious cocktails with the applejack touch, too. The Applejack Rabbit is no young bunny—the first recipe for it dates to the s. Fill a cocktail shaker halfway with ice. Add all ingredients and shake until well-chilled. Strain into a cocktail glass. Pawpaws are an almost mystical fruit in parts of the South. Sightings are rare, but if you get lucky enough to score a few fresh ones in late summer, the flavor is ethereal, a custardy combo of mango and banana. West Virginia is a prime hunting ground, as leggy pawpaw trees prefer moist, shady conditions common to the Mountain State. Mark Lynn Ferguson, author of The Revivalist , a blog on Appalachia, came up with a good salute to West Virginia when a pal showed up at his house one day with pawpaws and a basketful of cocktail makings.

The result was the Appalachian Martini, just the thing to sip while you prop your feet up on the porch and contemplate the heavenly views. Combine all ingredients in a cocktail shaker with ice. Strain into a chilled martini glass. Bartender George Williamson also squeezed in a half of a lime and that was it. About a decade later, bourbon was switched for more summery gin and the drink became a hit in D. But Hollis Silverman, the D.

Fill a collins glass with chunky crushed ice. Add gin and squeeze in half of a juicy lime. Kennedy Presidential Library and Museum, Boston. Why this drink : The author of The Old Man and the Sea knew a bit about fishing, and a lot about drinking. Luckily, this was not a recipe that got away. Fill a pitcher with ice, add all ingredients, and stir well. Serve on ice in collins or highball glasses, garnished with lime wedge or peel. Serves two to three. Why this drink : Such a momentous event calls for bourbon and champagne! Then again, bourbon is the unofficially official liquor of all Southern football. So drink both—no foul! Once claimed to predate Prohibition, it was actually concocted in the s by a Louisville mixologist looking to give his classic-seeming creation, and bar, a bit of extra attention.

Regardless, bourbon, bubbly, and orange liqueur is an inspired combo worthy of celebration. Tastes like…victory! Read more about the Seelbach. Stir together bourbon, Cointreau, and bitters in a chilled champagne glass. Top with cold champagne or sparkling wine, and garnish with a long twist of orange peel. By Steve Russell. Who cares if your team played well all season and made it to Atlanta? Losing is still a mortal wound, especially since it means that your smug rival won. Those cheating SOBs! The soldiers reportedly liked it so much that they telegraphed to have batches delivered to the front lines.

Those chaps won the day, so maybe drinking one will confer future good luck upon your team. Add bourbon, gin, lime juice, and bitters to a shaker with ice. Shake until well-chilled, about 30 seconds. Strain into a collins glass over fresh ice. Top with ginger beer. Garnish with mint sprig. And if that beer could fortify our constitution while cooling our brow, we might even enjoy two.

The Michelada, a Tex-Mex quencher unabashed about pouring beer and lime juice over ice, is just the thing. Read more about the Michelada. Generous pour 2—3 oz. Rim a oz. Fill the glass halfway with ice cubes; the denser the cube the better melts slower. Add all ingredients except beer over the ice, and garnish with a lime wheel. Serve with a stirring straw and beer on the side add beer to glass per individual taste. Why this drink : You might as well earn your exile by drinking something that feels wrong. Patton-Bragg makes a big batch a day ahead to let flavors meld before straining off the cereal. Read more about the Cereal Killer.

Stir cereal and milk together in a large pitcher, and refrigerate for 1 hour. Then, strain milk mixture, discarding solids, and add remaining ingredients, stirring to combine. Serve over ice in a collins glass, and garnish with grated fresh nutmeg and cereal, if desired. Why this drink : Rum and milk with a jolt of java is a real eye-opener. Milk punch is often deployed as a morning-after remedy. But the first head-thumping morning-after of the year begs a boost to help get the job done. So why not inject that other all-purpose a.

Read more about coffee milk punch. Combine all ingredients except nutmeg in a cocktail shaker. Shake without ice for 1 minute to incorporate and emulsify the ingredients. Add ice and shake 1 minute more to chill. Strain into a double rocks or highball glass, over ice if desired. Dust with nutmeg. In the South, some of us are lucky enough to have had no-nonsense grandmas who, at the first sniffle or cough, would dose us with bourbon and honey. And now that we mention it, we are feeling a little tickle in the back of our throat. Cheers, Grammy! Combine all ingredients except the root beer bitters over ice.

This class prepares students for college-level essays through writing workshops that provide a foundation for success: essay structure, critical vocabulary, organization techniques, and thesis formation. This class will also introduce students to defining examples of multiple genres poetry, prose, and drama. Together we will question how this culture in flux in many ways anticipates our modern experience. Class time will include discussion, lecture, games, group work, films, performance, and close-reading. Usually with growing pains come loss of innocence, anxiety, transformation, and sometimes—though not always—wiser ways. This course looks at texts that engage with the trials, pains, and joys of growing up too fast or too slow, or refusing to grow up at all.

The works that students will engage with explore topics experienced by many youth: family dysfunction, religious beliefs and conflict, sex, depression, death, substance abuse, friendship, gender, forms of discrimination, and of course, love and heartbreak. Some questions we will explore: Can we claim to understand or share similar experiences? What are the costs of youthful rebellion and conformity? And, what of those youth trapped by circumstances beyond their control—what recourse do they have, if any?

What are the ways of dealing with the aches and pains that bring positive growth? Why are some people emotionally and intellectually affected by the image of the hero in pop culture, literature, and movies? What is a hero, anyway? Is it someone who gains admiration through courage and strength, or is it someone who influences others intellectually? Is it a person who remains self-serving or someone whose actions benefit others?

Is a hero always a law-abiding citizen or can it be a rebel who is willing to rock the collective boat in order to affect a change in behavior and thinking? In order to address these questions effectively, this course will introduce students to the heroic journey as an archetypal motif of storytelling. Students will read sample works of literature that cover several literary genres, including fiction, drama, and verse. One recurring question we will ask ourselves is: How does the idea of the journey help us to simultaneously construct and challenge an understanding of what constitutes heroism?

Students will learn to apply active reading strategies and to put into practice the methods of analysis learned in the classroom. This introductory course will challenge its students to read, write, and think critically. It will explore the ways that our physical houses and concepts of home work together to shape personal and communal identities. Students will read works from a variety of literary genres, including film, as they examine how authors employ the elements of fiction to bring meaning to their texts.

This course will introduce students to the study of English at the college level: we will read good writing, think about it, talk about it, and express those thoughts in writing. More importantly, the course will introduce students to some of the strategies and techniques that help make written communication effective, artful, and even pleasurable. In this course we will read three genres of literature: short stories, poems, and a novel. Short stories will span the nineteenth to twenty-first century and include realism, gothic romanticism, and science fiction. We will look at poems from the time of Shakespeare to the Contemporary period. We will read one twentieth century novel, The Enormous Room, by e. In our analysis of these works we will pay attention to the basic elements of short fiction, poetry, and the novel, such as plot, character, setting, point of view, rhythm, and rhyme.

We will equally explore their ideas and themes, and look at the position of these works in their literary and social contexts. There is no cure for curiosity. The theme of this course, identity and belonging, will be explored through a variety of accessible texts including non-fiction, short stories, and a novel. You will learn to analyze non-fiction and fictional texts, acquire an understanding of basic technical literary terms, learn tools for successful close readings of texts, improve your individual reading strategies, analyze the techniques and devices used to construct a work of literature and learn how to make use of effective writing strategies in your own analytical essays. Through your encounters with the chosen intriguing texts and the ensuing class discussions and written efforts you will hopefully improve your understanding of the world and your own place in it.

Who are you? Who defines you? How do you define yourself? How have you been allowed to exist? How have you been denied? In this course, we look at authors and works of literature that seek to answer these questions. We think about assumptions, stereotypes, and lived experience. As students learn how to identify the strategies used to make a work of literature, they will also be making use of effective writing strategies in their own critical, analytical response essays. What is innocence? As a state of being, we cannot know innocence until we lose it. As a social judgement, innocence is far from stable, since what constituted innocence at one point in history may later be the very be the very condition of guilt.

We will then look how this theme presents in a variety of modern poems and short stories, looking at how the loss of innocence is figured as both painful wound and necessary step on the path to maturity. Students will also be expected to read a novel which engages with the theme of innocence lost. Since the dawn of time human beings have been telling stories and singing or reciting poetry to each other. Why have such people, storytellers in a broad sense, always existed in every human society, Canada included? What do they do, and what do they say, that makes them so necessary?

And, most importantly, what do their works tell us about Canada in the time in which they lived? This course helps students develop college-level skills in reading comprehension, critical analysis, and written expression. Students will learn strategies for active reading and methods of analysis to apply to a variety of literary genres. They will also learn basic literary concepts and the role of techniques and devices authors use to create meaning. A major goal in the course is to learn how to write sensible and well-organized analytical essays about literary texts.

The course also includes regular grammar practice to correct basic errors in expression. Introduction to College English is a course designed to help students develop college-level skills in reading comprehension, critical analysis, and written expression. Students will learn strategies for active reading and methods of analysis that will be applied to at least two literary genres. They will also learn other elements such as how authors employ techniques and devices to create meaning in their texts.

This course is an introduction to the study of literature in English at the college level: students will read good writing, think about it, talk about it, and learn to clearly express their thoughts in writing. Humanity has created a body of literature that explores, converses with, and is shaped by the ongoing cultural flourishing of our beloved — and not so beloved — cities.

Used as a metaphor for religion and the body, or seen as a place of refuge and menace, the city encapsulates our identities in its thrum and threnody. The often shifting meaning of the city is clear, especially in the COVID era, when keeping close together becomes a source of danger. Older than any person, sometimes lonely and desolate, sometimes pulsing with energy and excitement, our cities persevere and reshape themselves continually. In this introductory literature class, we will read writers across genres who use the city and cityscape as a vehicle for expression.

Students will be urged to look at the global village with a critical eye through positive intellectual engagement. This course explores the relationship between contemporary stories and the society which informs them. We focus on current fiction and poetry and analyze the human truths illuminated within these works as a means to develop strong critical thinking and to learn how to respond to fiction in writing. In this course, students will read works in the genres of poetry and narrative fiction. We begin by studying the work of an American poet, Mary Oliver, paying close attention to the way her poems about real moments in life — events in the natural world, personal discoveries, personal meditations — provide examples of linguistic grace and power in the service of personal expression and self-examination.

We then turn to a novel by emerging British writer Stephen May, paying close attention to his expert use of narrative voice and point of view to create a fictional world remarkably close to our sense of the actual world, but skilfully shaped to make us intensely aware of the meaningful potential of existence. Students are encouraged to develop skills in reading, or being able to place or situate a text, to understand it from the inside, sympathetically, and to step away from it and see it from the outside, critically.

In order to develop these skills, we will examine rhetorical devices used in personal writing, poetry, and fiction, such as voice, metaphor, imagery, and symbol. Finally, students will put these skills to use in learning to produce discourse and essays suitable for the college level. This is a first-semester English course where students will read a variety of genres: short stories, poetry, film, and a novel. An important aim of this introductory English course is to help students develop college-level reading skills by engaging in critical thinking, literary analysis, and written expression. Students will learn effective active reading strategies and literary analysis.

They will learn to identify literary, rhetorical and filmic techniques symbolism, metaphor, etc. Students will also learn how to write well-organized interpretive essays. The problem with the real world, frankly, is that it is the only one we have. The fantastic worlds of literature, when we first enter it, whether with the sigh of relief or the gasp of terror, come alive for us as alternatives to the real world.

In one sense, all art is fantastic simply because it offers us worlds in which some order prevails. Where did we come from? How can one explain the feelings of awakened sexuality? Why must there be death? Is there an afterlife? Fantastic worlds dramatize answers to these real questions for the ease of the questioners. We will therefore explore the answers provided in creation stories and fairy tales, as well as horror and science fiction stories. This course helps students develop college-level reading and writing skills by introducing them to texts from a variety of literary genres, such as the short story and poetry.

The course places strong emphasis on the experience of literature by allowing students to respond to creatively and critically to literature. The 20 th century was a turbulent one, packed with political conflicts, technological innovations and cultural revolutions that profoundly affected the world we live in. It was also rife with literary innovations, as writers had to come up with new ways of talking about this new world. In this class, we will use 20 th century literature as our backdrop to think about the function of literature.

Moving through one decade at a time, we will read short stories, poems and a play, and learn to write productively about texts, ideas, and arguments. Labyrinths and mazes figure prominently in poetry and fiction. Sometimes the literary labyrinth is a key setting, a circuit of mysterious paths that a disoriented hero might set out to navigate. Elsewhere the labyrinth might appear as a metaphor for confusion, complexity, or contemplation.

At yet another level of abstraction, the act of walking the labyrinth can be likened to the puzzling practice of reading and interpreting a text. Thought itself, after all, has a labyrinthine structure. We will address these and other labyrinth-related topics as we wind our way through a diverse set of texts that range from classical epic to contemporary fiction. A narrative tells a story, offers a description of a series of events. In this latter sense, one story risks becoming the only story. By examining diverse narratives in prose and poetic forms, this course will examine the various ways in which questions of value are shaped by the formal qualities of narrative structure. This course is designed to provide students with the critical tools necessary for thinking and writing about literature.

Our literary analysis of selected works will involve examining their basic elements, themes, as well as their historical positioning. Through a series of development assignments, students will learn how to develop interpretive claims, support these claims using textual evidence, and structure their analysis into coherent arguments. One of the goals of the course is to introduce students to the conventions and best practices related to writing about literature.

By reading a variety of genres, including fiction, nonfiction and poetry, we will also explore how landscape is used both as setting and symbol to develop themes. Some of the writing fundamentals that will be covered in the course include sentence structure, paragraphing, quoting, essay structure and the writing process. One view of literature sees its role as method to raise awareness about the world we live, so that we will hopefully rise to the challenge of making it a better place for all. With this view in mind, we will explore a variety of books and films that have played a major role in captivating the hearts and minds of those who have go on to make major changes in our world.

The texts we will explore will examine our relationship to slavery, labour, gender, consumerism, and the environment, etc. This course introduces students to common themes in medieval literature, including the inconstancy of this world we live in, the life of the mind, the pursuit of ideals, and the corruption of authority. We examine the development of these themes in a variety of stories from popular medieval genres: dream vision, hagiography, Arthurian romance, and fable.

The course should prepare students to recognize common medieval ideas, to understand differences among narrative genres, and to understand the value of situating a text in its cultural and historical moment. All texts are in translation. Students will learn how to think and write about literature by studying the depiction of romantic love by authors as varied as Plato, Shakespeare, Hemingway and others. This course focuses on some of the best love literature from the Western and Eastern worlds which deals with positive love relationships. Students will read fairy tales, short stories, essays, poems, and a short novel on love in the face of social obstacles, love in the face of psychological obstacles, seduction, ideal love, celebration of the beloved, and celebration of lovemaking.

Special attention is paid to strategies students can use to increase their pleasure in and understanding of literature and their ability to write about it. Perhaps no other word has such a consistent impact throughout our lives yet, somehow, its actual definition remains as elusive as its perpetual pursuit. We certainly love people including ourselves but also things, ideas and places — often in the exact same way. By looking at prose, poetry and non-fiction, we will consider such issues as whether a universally-accepted definition of the word is even possible; whether there is something thematically common in all of its depictions; whether its usage is often standing in as a metaphor for something else; whether all stories of love, by definition, have beginnings as well as endings.

A metafictional work of literature is one that draws attention to its own status as artifice. When a character in a television show, for instance, turns to the screen and speaks directly to the viewers, they draw attention to the fact that there is a camera in their presence. This is cunning move on the part of the actor; without completely destroying the fictional world of the show, they still manage to draw attention to the fact that they are, after all, only acting. In this class, we will study a series of literary texts which, through use of metafictional devices, pose questions about the delicate relationship between reality and fiction.

This course introduces students to the study of literature at the College level through a study of mythology. Students will read a variety of material, with emphasis on Greek myth, epic and dramatic literature, as well as reading, thinking and writing strategies necessary for the College. During the course of the semester the class explores the Sumerian epic of Gilgamesh, Greek creation myths as well as the greater and lesser gods of Olympus.

The class also reads Greek Drama tragedy and comedy and heroic epics such as the Iliad and the Odyssey. By the end of the semester students have a comprehensive survey of Western principally Greek mythology. By the end of the semester successful students are able to read the texts critically, work together as groups and write competent college level essays which indicate critical thought, understanding of techniques and devices, annotation and organization. The course readings and evaluations are the same as those for Liberal Arts This course provides an introduction to literature through poetry, prose, and drama by looking at characters who have been exiled from their communities, forcibly or by choice. These outcasts often seek companionship in unconventional ways and rely on themselves in order to battle worlds hostile to their beliefs.

Isolated and plagued by physical and mental barriers, characters studied in this course struggle to express and exorcise their demons, revealing the power and limitations of language. This course will introduce the student to short fiction, lyric poetry, the informal essay, and the novel. Generational clashes, sexuality, murder, racism, self-hatred, doubt, alienation, pride, courage, goodness: these forces can estrange individuals, creating a tension between them and society. This tension makes the individual an outsider; this tension is the focus of the course.

Grammar and essay-writing skills will also be studied, practised, and tested. How have literary artists throughout the twentieth century and at the dawn of the twenty-first chosen to represent real historical events in both nonfiction, fictional, and graphic texts? Students will try to make sense of the various tools writers use to record and remain faithful to memory not only through critical reading but also through creative practice.

Within a broadly defined theme of transformation initiation, coming of age, and other variations on character transformation , this course will introduce you to a variety of literary genres including poetry, fiction, non-fiction, and film. You will practice the skills for successful close readings of texts, acquire a working knowledge of basic technical literary terms, analyze the techniques and devices used to construct a work of literature, and learn to apply effective writing strategies in your own analytical response essays. This course will provide students with an introduction to literature through texts that look at how human relationships are affected by science and how the language of science can be used to write about love.

This is a foundational course designed to introduce students to a variety of genres and time periods of English literature, connected thematically by the idea of romantic love. From the seductresses of Gilgamesh , to the rebellious adulteresses of Chaucer, to the irreverent musings of modern song writers, this course aims to give the student a snapshot of love seen through the literary lens.

In addition, students will learn essay writing and research skills as they hone their abilities to critically analyse what lies before their eyes. This course aims at introducing the students to College English through the symbolic value of colour in literary narratives and poetic works. Our analysis will consider how colour is symbolically used not only with reference to natural beauty and to the visual arts that influenced many of these writers, but also as a means to unveil highly complex social issues, such as racism, and homophobia. The variety of the texts in question will also allow us to reveal how different stylistical features and devices are applied when colour is described in narratives developed through fiction, essays, poetry, film and music.

In Storytelling we consider the impulse to tell stories and the various creative methods and the beats, the ticks, the pulses that rouse people to activate the heart and share human and other-than-human experience: oral, written, and visual storytelling. We explore stories from different cultural perspectives, with emphasis on, but not exclusive to, Indigenous storytellers. Expect to encounter both fiction and nonfiction essays and memoir , poetry, short stories, film, and drama.

The course will introduce students to the cultivation of reading, critical thinking and college-level writing skills and hopefully, the enjoyment in at least one, if not all these activities! The aim of this course is to engage in the culture of a country often disliked: America. Throughout this course we will read and discuss various forms of mostly contemporary American literature short fiction, novel and the themes reflected by them. Class discussion and participation is strongly required in this course. My job is to mediate and stimulate the discussion necessary to point out the relationships between these themes, the theories possibly suggested, and the language, the literary terminology you will need to articulate them.

This course aims at introducing the students to College English through the symbolic value of friendship in literary narratives and poetic works. Our analysis will consider how friendship is represented, celebrated and fictionalized as one of the most important and archetypal relationships in human life. The variety of the texts in question will also allow us to reveal how different stylistic features and devices are applied when friends and their memories are described and developed through fiction, poetry, and film. The all-round, all-in-one, magic theatre course for all horses.

This course is ideal for students studying or just plain interested in theatre: Theatre Workshop students, Professional Theatre students, scientists who really want to go on the stage etc. All students work together on theatrical projects, while doing other assignments specific to their college level. In Theatre Workshop English, students can expect to develop facility in reading, watching and interpreting a variety of texts dramatic, fictional, poetic, and cinematic as well as improving written and oral expression in English. The Final Showcase offers an opportunity for dramatic writing to students in the Playwright Stream and group performance to all participants. Despite what many might like to think, it is clear that the Western world is still far from being an entirely peaceful place.

For instance, many of us believe that violence must sometimes be used to enforce laws and protect human rights. Although we may consider the former uses of violence unfortunate necessities, many of us still enjoy watching contact sports and even the more explicit forms of violence found in action or horror films. However, sometimes the violence found in fiction is so gruesome that it is not easily accepted, let alone enjoyed. Figuring out what authors hope to accomplish by depicting acts of extreme violence will be one of our main goals.

In order to reach some conclusions, we will examine a variety of texts containing such forms of violence. Each work will be considered in relation to its appropriate cultural and historical context. Seeing as this is an English course, the second aim will be to develop skills necessary for students to be effective readers and writers. The cultivation of these abilities will not only aid students in their exploration of violence in literature, but in any other analytical work they may need to do in the future. Students develop their own voices as writers, and their vision as critical analytical readers, through engagement with the visions and voices of others, with a focus on texts by Indigenous writers. We will explore the power of the spoken and written word, how this power affects us, and how we can access it effectively, both in speaking and in writing, as well as the pleasures of exploration, new experiences and discovery that the world of reading and writing opens to us.

This introductory course will challenge students to read, write, and think critically as they explore the theme of water in literature and consider current water-related issues around the world. In this course, students will study works from a variety of literary genres, including non-fiction and film, to discover the literary significance of water, one of our essential needs for survival. A soul-devouring monster appears in your kitchen and demands a peanut. Do you laugh? Ask how it would feel about an almond? Thanks to the monumental success of J. Yet, while magic today is often celebrated in literature, or even used as a metaphor for imagination and the power of childhood, witches and wizards have long been the subject of visceral horror and violent persecution.

Bearing in mind this dark past, this course will pursue the objectives of the literature requirement through study and debate of issues pertaining to magic in literature. Students in this class will read drama, short poetry, novels, and selections from contextual non-fiction to discover multiple genres. In this course, students will enhance their writing proficiency, enrich their oral skills, and develop close-reading abilities that can easily be adapted to achieve success in any field.

To go wild is to break free of restraints, live life outside of the norms. What are the costs to breaking the rules and who makes those rules, anyway, and why? In this course we examine stories about those wayward souls who find themselves willingly and not so willingly inhabiting the fringes. They often wear their wildness as nonchalance, contempt, rage, boredom. Some enact senseless violence and vandalism, others take extreme risks; always, though, they seem to meet with some form of tragedy. Yet, within this tragedy something survives, something seeds and grows. In this course, we will explore the positive things that survive and thrive in this wildness. The main focus of these courses is to study the relationship between form and meaning.

There are numerous sub-genres within these broad categories. In these courses, the focus may be on either one genre e. Students learn to identify and analyze such structural elements as plot, character, point of view, tone, symbol, diction, rhythm, rhyme, metaphor and how these devices interact to produce meaning. The courses will focus on helping students recognize the patterns that enrich the works, the themes that these patterns suggest, and the relationship between the significant elements of the work and the themes.

To pass these courses students are expected to write a 1, word essay that meets specific criteria. In this course we will study texts from a variety of genres, written in Europe and North America during the 18th and 19th centuries. We will encounter some of the well-known issues of this era, such as the Enlightenment, Romanticism, revolution, Symbolism and Transcendentalism. Throughout the course, students will be encouraged to develop their own understandings of the readings and to strengthen their writing skills. Originally designed for students in the Liberal Arts program, this course is open to all students who are interested in Enlightenment and Romantic literature.

How have fans changed the course of literature? How do our reactions and interpretations change the course of a text? What happens when the reader takes over and becomes the writer? How do they transform and resist the source work? Do we, as readers, actually have far more power over the narrative than we thought? In this course, we will explore and complicate the roles of authors, fans, and readers. In particular, we will be focusing on the texts and adaptations that resist the canonical work in some way and what value those resistant transformations can have — not just for the texts themselves, but for people writing and reading them, making space for themselves where the canon did not.

This course will introduce students to modern African short stories. A variety of stories by authors from different African countries will be analyzed; specific attention will be paid to how each writer makes use of the conventions of the genre to reflect upon the present-day realities across the continent. Through the study of these diverse tales of African people — children and adults, men and women — we might be able to shed damaging stereotypes and gain knowledge and appreciation of the diverse and colourful literature from that far-away continent.

By examining literature, art and film from the early 19th Century to the present, we will examine how writers and artists create a means through which they can address specifically North American cultural concerns, including issues surrounding national identity, religion, race relations, and the urban environment. This class will introduce you to a variety of traditional and innovative American short stories. We will attend to the particular formal elements that make a story appealing and incite an emotional response from readers.

In the process, we will meet people, ideas, different ethnic communities, and have a glance at the process of writing itself. By the end of this course, we will have discovered the potential of the short story as a vehicle for literary creativity and the exploration of what it means to be human. Why do people read and write poems? What role do poems play in our individual and collective lives?

In order to address such questions thoughtfully, students in this course will be introduced to poetry as an art that uses language deliberately and playfully, challenging its readers to see, hear, and understand the world with open hearts and minds. By encountering various types of poetic forms—closed e. Specifically, they will learn to read poems closely and confidently by investigating how poets use form, rhetorical devices, and literary techniques to communicate ideas meaningfully and memorably, with emotional power and intellectual scope. Contemporary Canadian short-fiction writers are much bolder than their literary ancestors. Issues of sexuality and violence and ethnicity, for example, are being treated in frank and disturbing ways, while humour often winks from a footstep away.

Apart from provocative content, our writers are ambitiously experimenting with form and technique. In the carnivalesque, we see that the comedic and the profane can often provide a critique of society. In this course, we will study literary texts which work in the mode of the carnivalesque: they examine the delicate balance between breaking an order and reinforcing it. In this course, we will think the unthinkable; some would say the impossible: poetry can change the world.

One poem at a time, we will discuss how poets influence our lives through global perspectives of love, desire, beauty, nature, lamentation, death, translation, metamorphoses, war, foul language, dissent, protest, and miracles. The poems in this course are literal and symbolic expressions of difference, survival, and innovation. They affect our ways of thinking about, representing, and enacting human relationships in surprising and predictable ways. What will emerge over the course of this class are the ways in which poetic perceptions shift our own thinking, shock us out of our complacency, and motivate us to want to change the world too. One of the presuppositions of this course is that fart jokes are funny.

Indeed, we shall presuppose that buttocks, boobs, boners, and bodily images of all kinds are perfectly hilarious. Anyone who disagrees with these presuppositions will have to enjoy the exceptional rarity of his or her sense of humour in silence. The fact is, there is a long tradition of literature that delights in foregrounding the body in its comic aspect, and our purpose in this course is to try to understand why. Why do fart jokes exist? What is the function of this kind of humour, psychologically, socially, and artistically?

Why is the body so closely and so easily associated with laughter? These are a few of the questions we shall attempt to answer as we study a sampling of comic literature from the 14th century to the present. This course is designed to allow students to explore the genre of the short story in greater depth. We will concentrate on Contemporary American short fiction analyzing the relationship between the contemporary author, his or her work, and the literary elements he or she uses to explore themes that illuminate the world in which we live.

Similar is the nature of the narratives about the island, its traditions, and its changing history; these fictions are a mixture of peculiar, individual literary voices and collective accounts. Focusing on the memoir genre, we will consider how Cuba and its culture have been the centre of increasing personal narratives created by authors both Cuban and international whose identities have been shaped both from outside and inside the country. A series of parallel literary texts, essays and articles, collected in the course pack, will allow us to create the proper historical, literary, musical and filmic framework in order to address how Cuba has been described and discussed in the memoir genre both literary and cinematographic and how these particularly personal narratives have revealed some of the most interesting and hidden aspects of the evolution of Cuban culture from the Fifties to today.

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