Studying the Arts at Lafayette

We are creators, makers, patrons, and learners.

We develop the next generation of artists and creative leaders. We invite all students to engage, develop, create, and witness what art means. To learn how art originates. To carry art into life across campus.

Bold expression, meaningful insight, creative risks

The Arts at Lafayette are academically diverse and distinct, built on a foundation of five departments and programs, professional performance series, curated galleries, creative and performing arts scholars program (CaPA), and student art society.

lafayette college creative writing

Art. It's a vital, fascinating record of both individual and collective creativity, one that can reflect and transcend time and culture. The Department of Art provides students with historical and critical understanding of art coupled with the experience of interdisciplinary artistic practice. Our students examine art globally and across time, and

lafayette college creative writing

Creative Writing

Get involved in Lafayette's lively literary culture! Accomplished published writers in the English department offer courses in creative writing, screenwriting, advanced creative writing in fiction and in poetry, playwriting, environmental writing, creative nonfiction, humor writing, spiritual writing, and new media.

lafayette college creative writing

Film and Media Studies

FAMS explores the moving image and digital media in art, culture, and society, combining rigorous theoretical study with hands-on practice. It nurtures relationships with established film and media artists, integrating career and advanced study opportunities for students within local, regional, national, and international centers of film and media.

lafayette college creative writing

Our performance and academic experiences enhance the liberal arts mission of the College, enrich the cultural environment of the College community, and promote musical understanding through performance, historical and analytical study, and exposure to the diversity of musical expression.

lafayette college creative writing

Students involved in theater at Lafayette cross boundaries that teach them about the stage but even more about themselves. Dedicated theater faculty and adventurous students are at the center of collaboration across disciplines that guarantees the very best liberal arts education anywhere—on stage or off.

Creative and Performing Arts Scholars Program

CaPA challenges students to commit to their creative development and bring cultural experiences to the Lafayette College community. CaPA scholars develop their own projects that use the arts as a vehicle for igniting dialogue on Lafayette’s campus and receive financial support and mentorship from working artists.

Canvas, concert hall, screen, chapbook, or stage. Paint, voice, clay, ink, history, woodwind, or celluloid.

We develop the next generation of artists and creative leaders. We invite all students to engage, develop, create, and witness what art means. To learn how art originates. To carry art into life across campus. Studying art here means immersion. It means expansion. It means playing, pushing boundaries, and preparing to be active citizens of the world. This is Lafayette Arts.

Spring 2022

English 100 Academic Writing [W]

Focuses on rhetorical awareness. In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students’ own reading and writing practices fit into those of “the Academy.” While additional texts may be assigned, writing produced by students in the class will serve as the principal texts of the course. Additional texts may include Graff & Birkenstein’s  TheySay/I Say , Harris’  Rewriting: How to do things with Texts , and Richard Lanham’s  Revising Prose . Prerequisite:  FYS.  Enrollment is restricted to first-year and sophomore students.

100-01  This section is open only to students whose first language is not English.  Prerequisite(s): First Year Seminar and permission of the instructor. Prerequisite(s): First Year Seminar and permission of the instructor.

Professor Kang  TR 11 a.m.–12:15 p.m.

Professor Uzendoski   TR  9:30–10:45 a.m .

English 115 Science Fiction    [H]

This course focuses on works of literature that ask us to reflect on scientific, technological, and sociological issues by inviting us to enter alternative realities that are both like and unlike the world we live in.  Who has control over and benefits from specific scientific and technological developments—and who lacks access and is harmed?  When does reliance on technology become overreliance? Do new means of communication foster or thwart effective interactions between individuals? How might works of science fiction help us better understand climate change, imperialism, advances in medicine, or the causes and consequences of systemic racism, sexism and homophobia?  These are just a few of the issues we’ll be discussing as we venture into the highly imaginative and thought-provoking texts of both well-known SF writers (Phillip K. Dick, Ursula LeGuin, Isaac Asimov, Octavia Butler, Mary Shelley, Ray Bradbury)…and a host of important but less famous 20 th and 21 st century writers of science fiction.

Professor Byrd   MWF 1:10-2 p.m.

English 119 Literary Women   [GM1, H]

This semester, Literary Women will focus on novels, poems and plays that examine the experiences of females living in low-income families and/or communities. We’ll be exploring the psychological as well as physical toll of having limited economic resources, and we’ll examine ways in which girls and women try to cope with and/or escape poverty.  In addition to exploring how systems of power and privilege based on gender and class intersect, we’ll also examine how race and sexual identity further complicate the experience of being poor and female.  And of course we’ll be discussing how a work of imaginative literature’s meanings are produced through the text’s structure, narrative point of view, dialogue, setting, and metaphorical language. Among the works likely to be assigned are Sula, Bastard Out of Carolina , Rubyfruit Jungle, King of the Yees , and Drinking Coffee Elsewhere .

Professor Byrd   MWF  3:10–4 p.m.

English 135 Literature and Human Experience    [H, V]

An examination of a significant social or cultural problem as reflected in literary texts. Topics vary from semester to semester and will be announced during the registration period. May be taken more than once with different content.

135-01  Reading Animals 

This course investigates the ways in which non-human animals are situated within literary and cultural discourses.  We will seek to understand how various animals are valued and used in our culture, what ideas underlie such distinctions, and how the human/animal relation is represented in literary texts.  The course begins with a broad introduction to the ways animals have been theorized within our own (Western) intellectual tradition and then examines representations of the human/animal boundary in twentieth-century and contemporary novels, short stories, and poems.

Professor Rohman  TR  9:30–10:45 a.m.

135-02 Rise of Individualism

This course offers an introduction to English Literature from the late Middle Ages through the seventeenth century.  Particular attention will be given to comparing and contrasting different genres of literature, including, epic, romance, sonnet, tragedy, and the novel.  We will also discuss the competing ways in which early modern texts represent the rise of individualism and subjectivity.

Professor Cefalu  TR  11 a.m. – 12:15 p.m.

135-03 Ten Plays You Need to Read Before You Die! [H, V ]

Drama runs the real-life gamut of human interaction and experience (humor, ambition, falling in love, the desire for success, fear of failure) in ways unique in literary study. We watch real people in recognizable human situations, talking, debating, deciding, and figuring stuff out. This course seeks to introduce students to plays that have proven to be substantial, provocative, and illuminating to the degree that they constitute a must read “ten best list.” But precisely because drama seems the closest literary form in its representation of how we live and interact, it makes serious demands on us as an effective mirror that challenges us to look at ourselves closely and examine our values as individuals, family members, neighbors, friends, students, and citizens with a social and political awareness. Playwrights include Fugard, Williams, Greenberg, Herzog, Shakespeare, and Ibsen.

Professor I. Smith     MWF  2:10–3 p.m.

English 151 Intro to Creative Writing [ W ]

A professor in college once told me: “A good poem does what it says.” This means that if the poem is about grief, then it should also instill the sensation of grief in the reader. The same professor later told us about a conversation between the famous Impressionist painter, Degas, and the Symbolist poet, Mallarmé. Degas told Mallarmé that he wanted to write as well as paint. He said that he had some great ideas for poems, but he could not seem to articulate them when he sat down to write. Mallarmé responded: “This is because you don’t write poems with ideas, but with words.” Studying creative writing is not just about understanding different models of storytelling, but exploring the detailed processes of composition, meter, and the materiality of language. Our class will be focused on different movements of poetry in the 20th century (Modernism, Black Mountain Poetry, Confessional Poetry, the Black Arts Movement, New York School Poetry), and fiction craft questions around issues of point-of-view, suspension of disbelief, and environmental craft writing. Creative thinking is crucial to a liberal arts education and to a deeper sense of your own self-development. This class will require you to reflect, take walks, eavesdrop, and dig for material from unusual sources.

Professor Fernandes    Sec 01  TR 11 a.m.–12:15 p.m.

Professor Fernandes    Sec 02  TR   1:15-2:30 p.m.

English 202 Writing Seminar [ W ]

Writing seminars are courses that make writing and language their explicit subject. While each seminar has a specific focus, all seminars emphasize the process of academic reading and writing and use student writing as a primary text.   Prerequisite:  FYS.

202-01 Writing for the Ear  

StoryCorps. The Moth. Serial. Code Switch. The Daily. Nice White Parents. S Town. The Last Archive with historian Jill Lepore.  These are all examples of podcasts that are heralding a resurgence in audio storytelling, an ancient tradition that creates an intimate experience for the narrator and audience. But writing for broadcast is different from producing content for the eye. In Writing for the Ear, we’ll focus on producing stories designed to be read out loud using a more concise and conversational style than writing for print, but with the same emphasis on clarity, authentic voice, and powerful word usage. You will learn to find stories, conduct interviews, write and edit scripts, and produce compelling audio stories that resonate with listeners. The final project involves producing your own podcast. Out-of-class assignments include listening and responding to a diverse variety of audio stories and podcasts to discern how sound and effective storytelling techniques can enhance your own work.

Professor Parrish   TR 2:45-4 p.m.

  202-02 Outbreak: Narratives of Contagion

Infection. Detection. Spread. Containment.  Whether encountered in literature, film, television, or our daily news, we are all intimately familiar with the major plot points of what Priscilla Wald has called the “outbreak narrative.” Outbreak narratives provide a familiar structure for understanding overwhelming public health crises. They transform complex biomedical occurrences into mythic struggles between heroic epidemiologists and villainous superspreaders. These myths come to shape how scientists, politicians, and everyday people respond to epidemics. More than anything, outbreak narratives reveal the indivisible relationship between culture and disease. In fact, Wald argues that outbreak narratives are deeply related to anxieties about globalization, social mobility, and purity. As evidenced by both COVID-19’s disproportionate effects on communities of color and the recent amplification of xenophobic rhetoric by powerful social actors, outbreak narratives have real consequences that put real people at risk. In this writing seminar, we will critically examine the outbreak narrative. We will read widely, cataloging the ways that epidemics are talked about in historical, fictional, official, popular, and vernacular texts. We will discuss how epidemics move from being distant threats to overwhelmingly present realities. Historical case studies will allow us to interrogate familiar outbreak tropes and subsequently ask how blame becomes asymmetrically distributed among Othered groups. We will also examine how epidemics change our relationships with the environment and nonhuman animals.

      Professor Mitchell   MWF 2:10–3 p.m.

English 205 Seminar in Textual Practices     [H]

This course provides students with an introduction to the theory and methodology of literary study by focusing on three questions: What is a literary text? How do we read a literary text? How do we write about a literary text? By considering the rhetorical, aesthetic, and ideological issues that determine literary value, students examine their assumptions about literature. Required of all English majors and minors. Prerequisite: Any introductory English Department course (101-199) or AP credit.

Professor Cefalu    TR 9:30–10:45 a.m.

Professor Wadiak TR 1:15–2:30 p.m.

English 206 Literary History

How is literary history constructed? What is the canon of great works and how is it formed? This course inquires into the specific cultural practices that construct literature and engages students in an exploration of canon formation, marginalization, intertextuality, and influence. Readings are chosen from British, American, and Anglophone literatures and from various genres; texts from at least three literary periods are studied in depth.   Prerequisite:  Any 100-level English course (101-199), or AP credit, or permission of instructor.

206-01 English Renaissance, Harlem Renaissance

This course brings together distinctive, important periods that are typically not studied together, raising the immediate question: why? The answers to this radical concept lead us to rethink the processes by which we arrive at “great works,” and, at the same time, tell a revealing story of genre, gender, authorship, race and sexuality that culminates in the twentieth century during the Harlem Renaissance. Does literature have a history? More than mere chronology, “Literary History” asks that as shrewd readers we master the politics of canon formation.

            Professor I. Smith    MWF  3:10–4 p.m.

206-02 Medievalish—The Idea of the Middle Ages

The problem with defining the Middle Ages, as one scholar drily notes, is that everyone sees in them what they want: “The Renaissance invented the Middle Ages in order to define itself; the Enlightenment perpetuated them in order to admire itself; and the Romantics revived them in order to escape themselves.” The upside of this problem of definition is that one can learn a lot about how a given period saw itself by looking at its idea of the Middle Ages. This course takes some foundational medieval and early-modern texts— Beowulf , Hamlet , and tales of King Arthur—and asks how later periods made these stories their own. We’ll find that Hamlet , for instance, draws on much earlier medieval ghost stories even as Shakespeare’s play itself continues to haunt the Gothic imagination centuries later. Our goal will be to explore how the idea of the Middle Ages helped give rise to the very notion of a literary tradition in English. And since we are still imagining the Middle Ages now—whether in movies like The Last Duel or in the Arthurian fantasy of the Nobel-prize-winning writer Kazuo Ishiguro—we will end the course by asking what our ideas about the Middle Ages might say about us.

Professor Wadiak   TR 9:30–10:15 a.m.

English 240 Introduction to Writing & Rhetoric

What is a writer? What exactly do they do? And what counts as writing anyway? This course is an introduction to the histories, theories, and methods of writing studies and public rhetoric. We will read from a range of texts, interrogating issues pertaining to authorship, genre, non-standard literacies, digital composition, and language ideology. Beyond learning about the type of writing that happens at college, we will examine writing’s role in constructing and maintaining social identities, paying close attention to how our written selves both liberate and constrain us as we engage in various forms of self-expression. While our topics and objects of study will be sweeping, they will be organized around a concern for how symbolic communication is entangled within pervasive social logics that define appropriateness, conventionality, and value. For instance, we will explore the intersecting racial, classed, and gendered forces that propelled (and, indeed, continue to propel) efforts to standardize written English. By attending to rhetorical theories of genre, we will ask how writing disciplines thought and structures our capacity to affect meaningful change. Along the way, we will study the work of influential scholars and critics who use writing to reveal and resist communication’s dominating effects.

Professor Mitchell Sec. 01   MWF    9–9:50 a.m.

Professor Mitchell Sec. 02   MWF  10–10:50 a.m.

English 245 International Literature [ H, GM2 ]

Part of the excitement of being a student in the twenty-first century is seeing a shift in the way we understand the world as a complex mix where cultures one imagined to be so far away have been brought much closer to us through travel, the media, politics—and literature. “International literature” calls for an expansion of the traditional canon of British and American texts that has long been the staple of English studies.  Over the last few decades especially, several highly regarded world authors have emerged whose presence has dramatically altered the literary scene. This course introduces us to a variety of these authors who broaden the scope of our literary education and both challenge and enrich our perception of the world. Literature, then, serves as a critical tool enabling us to encounter a changing world that invites us to look beyond the comfort of our usual literary horizons.

Professor I. Smith   MWF  11–11:50 a.m.

English 246 Black Writers 

This course explores the transnational contours of Black literature and literary theory in the twentieth and twenty-first century.  Utilizing theoretical concepts like “the Black Atlantic,”cosmopolitanism, and archipelagic American studies, students will read a variety of genres of writing from Black writers from the United States, the Caribbean, and Canada including Martin Delany, Zora Neale Hurston, Paule Marshall and Marlene Nourbese Philip. In doing so, the course encourages students to consider the permeability of nation-based literary canons and how literary tropes, aesthetics and theories circulate across transnational routes, complicating and extending our understandings of Blackness and literature along the way.

Professor Gill-Sadler   TR 2:45–4 p.m.

English 250 Writing Genres:  Professional Writing and Communication     [W]

In this workshop course, we will define, examine, analyze, and practice professional writing and communication through the rhetorical concepts of audience, purpose, and context.  We will develop and strengthen the ability to think critically, understand visual design principles, deliver presentations, communicate effectively as part of a team, and understand the written and presentation conventions of several different subgenres of professional writing and communication.  Work for this course includes multiple individual and team-written documents and several individual and team presentations.

Professor Clayton     T  7:00 – 9:50 p.m.

English 254  Humor Writing [W ]

Unleash your inner funny and learn how to write with a side of wit and dollop of snark by studying and dissecting the work of exceptional humor writers and stand-up comedians. You will learn techniques to invigorate and enliven your writing while generating new perspectives through humor. You may even produce some LOL belly-busting or inside-where-it-counts material to employ on dates, job interviews, and tension-filled family gatherings. Assignments include listicles, essays, advice columns, a campus guide as well as a 5-minute comedy routine, which you will perform as your finale assignment. We will also delve into the history of standup comedy, learn what makes something funny, and cheer each other on in a supportive and respectful environment.

Professor Parrish   TR 11 a.m.– 12:15 p.m.

English 256 Intermediate Fiction Workshop [ W ]

This is a revision-focused workshop for students who wish to develop the craft of writing fiction. Students will explore the conventions of prose storytelling—narration, point of view, character development, plot, dialogue, description, etc.—by drafting guided in-class exercises, reading works of published fiction, thinking about their own writing process, and eventually drafting and revising an original piece of short fiction. In addition to writing their own original work, students will also be reading a diverse sampling of fiction and craft essay and interviews to deepen their understanding of how fiction can work. Students will regularly write and discuss reflections on the work of their peers as well as on their own process. Careful and serious listening – to each other and to our own work – is the cornerstone of this course. During workshops, students are expected to engage in constructive discussions with peers and provide well-thought-out feedback that seeks to help their peers develop their own unique perspectives and voices. We will strive, together, towards the shared aspiration of making our voices come alive on the page.

Professor Awake   MW  11 a.m.–12:15 p.m.

English 271 Dancing Cultures [ H] [V] [GM2]

What is dance?  What constitutes performance?  In this course we explore how the body, identity and culture are represented through aesthetic traditions, cultural contexts and texts from many genres in order to create social and cultural meanings. We examine how performance and dance are connected to questions of gender, race, ecology and national identity.  Students will consider embodied knowledge practices as they are represented textually in memoirs, essays, films, and graphic novels.  The course is for all students interested in movement studies and in the cultural and textual exploration of dance practices.  No dance experience is required.

Professor Rohman  TR 1:15–2:30 p.m.

English 329 American Decades: Speculative 90s [ W ]

The 1990s was a transformative decade for science fiction in the United States. Writers across the country responded to the end of the Cold War by creating innovative science fiction that addressed new themes and appealed to diverse audiences. The decade is especially significant for science fiction studies due the emergence of new perspectives and voices: an unprecedented number of Indigenous and ethnic American authors published speculative texts during the 1990s, forever changing the literary genre. In this course, students will study landmark texts in American science fiction written at the end of the twentieth century. We will consider the development of key genres and concepts including climate fiction, Afrofuturism, Indigenous Futurisms, feminist science fiction, cyberpunk, and Latinx speculative fiction. Throughout the semester, students will pay close to attention to the historical context of the 1990s: we will analyze how these writers responded to a series of political events including the fall of the Soviet Union, the Gulf War, the 500 th anniversary of Christopher Columbus’ first voyage to the Americas, the signing of NAFTA, and the balkanization of Yugoslavia. Authors we will discuss include Octavia Butler, Guillermo Gómez-Peña, Karen Tei Yamashita, Ted Chiang, Nalo Hopkinson, Misha Nogha, Connie Willis, Kim Stanley Robinson, and Neal Stephenson.

Professor Uzendoski     TR 1:15 – 2:30 p.m.

English 332 18th-Century Oceans [ H, GM1, W ]

Empires. Sugar. Tea. Revolution. Slavery. All these hallmarks of the 18th century happened on, or because of, the sea.  In the midst of exploration, empire-building, independence movements, and international trade, writers worked to make meaning out of the rapid expansion of the known world and the new political and aesthetic problems that expansion created.  This course will study works from around the English-speaking world, from fiction ( Robinson Crusoe ) to slave narratives (Olaudah Equiano) to travel writings ( Letters of an American Farmer ) to poems (Phillis Wheatley).  As we’ll see, even the definition of literature was up for grabs in this period, and the ways people thought about the ocean over 200 years ago still influences our world today.

Professor Phillips   MWF 10–10:50 a.m.

English 341  Nineteenth-Century British Novel [W] Cultures of novel reading and writing in Great Britain in the nineteenth century.  Through an examination of representative works from the period, we will consider how the novel both reflected and helped to shape public perceptions of some of the major social and psychological problems of the period (e.g., the impact of scientific progress and industrialization on English life and national identity, challenges to a rigid social structure and repressive moral code, attempts to redefine the nature and role of women).  Texts may include novels by Austen, Braddon, the Brontes, Collins, Dickens Eliot, Hardy, Shelley, and Wilde; Mayhew’s  London Labour and the London Poor ; and other contemporary texts related to the emergence of the novel as a key venue for social and political debate.  Prerequisite:  ENG 205 or permission of the instructor.

Professor Falbo   MW  1:15–2:30 p.m.

English 350 Studies in Writing and Rhetoric: Reading and Writing in Screen Culture [ W ]

This class will investigate the relationship of reading and writing practices to the technologies that enable them. It will be a project-based course that allows students to collaborate as we produce original research that aims to answer the question: How do contemporary readers and writers manage their literacy practices and productivity when they are flooded with information, social media, streaming services, video games, and other distractions? To answer this question, we will read historical and contemporary texts about whether or not people read more literature in the good old days, whether the interwebz are destroying our ability to read long books, and how contemporary technologies like search engines influence our writing processes. We will study our own writing processes and the processes of others by producing multiple data sets, analyzing them, and reporting our findings in essays, white papers, and graphics. Counts for Writing Concentration elective Spring 2022 only .

Professor Laquintano   TR   9:30–10:45 a.m.

English 352 Special Topics in Black Literature: Ghostwriting [ W ]

This is an advanced course analyzing the past, present, and possible future of Black collaborative writing as popular practice. We will read texts produced by ghostwriters like Alex Haley and Aliya S. King writing with, for, and through collaborators like Malcolm X and Faith Evans. Working behind the curtain of this growing practice, we’ll compare ghostwritten works — both in book form, audio, and social media — with the unadulterated words of their subjects to unpack the ways in which a collaboratively written text can complicate, compromise, subvert, and expand the intentions of both author and ghost. Students will read translated texts from African storytelling traditions, mainstream first-person autobiography, and contemporary music. For assignments, students will have opportunities to focus on both practice (i.e., producing original ghost-written work with a collaborator subject) and to write analytical essays about the social, cultural, and literary dimensions of the practice of ghostwriting. Counts for Writing Concentration elective Spring 2022 only.

Professor Awake   MW  2:45–4 p.m.

English 353 Advanced Journalism  [ W ]

This course takes the fundamental principles of news reporting and writing acquired in English 231 Journalistic Writing to the next level, with the goal of improving your writing skills and sharpening your reporting skills while producing and publishing stories that matter. Serving the public good is an essential tenet of our industry and during this course we will practice solutions-based journalism by involving the community in all steps of the story-building process by using a model developed by the public conversation tool Local Voices Network, a project of the MIT Media Lab, and the community nonprofit Cortico. Both are involved in innovative, experimental work around trust building in communities and are training journalists and journalism students how to reach out to marginalized groups and facilitate public dialogue about inequities. Along with three other colleges and universities in the country this semester, we will test techniques designed to enable citizens to “name” big problems facing their communities as well as offer a “frame” for possible solutions. This class will focus primarily on inequities faced by the LGBTQ and trans communities and we will partner with local news outlet Lehigh Valley Live to produce professional news stories and content with the expectation of publication. It takes open discourse to sway policymakers to banish systemic inequities. In this class, we will carefully question entrenched biases in power structures while considering how our own positionality as a racial, social, political, cultural, and economic being could affect our journalism. The course may result in professional clips and journalism experience that will enhance your resume. Counts for Writing Concentration elective Spring 2022 only.

Professor Parrish   M 7– 9:50 p.m.

English 365:  Seminar in Literary Criticism   [W]

In this course, we will be studying theoretical schools such as feminist and queer theory, critical race theory, poststructuralism, and psychoanalytic theory. “Theory,” like philosophy, is notoriously challenging. At the same time, its intellectual lessons can be incredibly energizing. The texts we look at will be delving into the theoretical frameworks around Pixar films, contemporary hip hop, and our understandings of wildness. Students will be expected to write twenty pages of critical and creative response work to the readings and engage in seminar discussion on a variety of topics. Counts for Writing Concentration elective Spring 2022 only .

Professor Fernandes    TR  2:45 – 4:00

English 369 Writers in Focus: Toni Cade Bambara [ W ]

A self described “cultural worker” and Pan-Africanist, socialist, feminist, Toni Cade Bambara is one of the most impactful figures of Black feminist literature in the twentieth century. This course explores her artistic expression and political postures across various forms and genres including, but not limited to, novels, essays, short stories and film. Through an examination of Bambara’s oeuvre, the course explores the various shifts in  Black feminist thought, neoliberalism and Black literary culture and markets in the late twentieth century.

Professor Gill-Sadler    TR 11 a.m.– 12:15 p.m.

English 370 Gender, Race and the Classics:  Modern Responses to Ancient Greek Texts [ H, GM1, W ]

The stories told by the ancient Greeks have had a powerful influence on 20 th -century playwrights, poets, filmmakers, and fiction writers.  This course will begin with readings about ideological constructions of gender, race, class and foreignness in 5 th century BCE Athenian society, an imperialistic society that extended citizenship rights and powers only to Athenian-born males.  We also will discuss ancient Greek theatrical practices and the role that literature—especially drama—played during Greece’s “classical” period. The majority of the semester will be spent (a) analyzing the structural, imagistic, and thematic features of several ancient Greek tragedies, with special attention to how these texts address issues of race, gender, and imperialism, then (b) juxtaposing those texts to novels, poems, films, and short stories in which 20 th and 21 st century women writers and writers of color rework the stories of Homer, Aeschylus, Sophocles, and Euripides to explore issues of their own societies and times   What features of a classical tragedy or epic does the modern-day writer imitate, preserve, and/or pay tribute to?  Which aspects of the earlier texts are discarded, critiqued, and/or told from a perspective quite different from the original?  These are two of the questions we’ll explore as we look at Greek, American, St. Lucian, Brazilian, French, and German stories about Antigone, Medea, Orpheus, and the Trojan War.

Professor Byrd  MWF  11–11:50 a.m.

English 390 Independent Study

English 495 Thesis

2023-24 English Department, Visiting Assistant Professor of Creative Writing

The English Department of Lafayette College seeks a Visiting Assistant Professor specializing in creative writing for the 2023-2024 academic year. Requirements are an MFA or equivalent credentials in creative writing, as well as experience in teaching creative writing at the undergraduate level. A successful candidate will be able to offer intermediate and/or advanced courses in poetry and creative nonfiction, as well as a multigenre introductory course in creative writing, contributing in these ways to the department’s commitments to anti-racist, anti-homophobic pedagogies. Teaching load is 3/3, in addition to supervising independent studies and senior theses in creative writing. No department or college service is expected for this role.

Please upload a cv, application letter, two sample syllabi, and single-page statement of teaching philosophy to Interfolio ( http://apply.interfolio.com/124371 ) by May 8, 2022. Please also arrange for three letters of recommendation to be submitted to Interfolio. As part of your letter, please address how your scholarship, teaching, mentoring and/or community service support Lafayette’s commitment to diversity and inclusion articulated in the College’s diversity statement ( https://about.lafayette.edu/diversity-statement/ ).

Lafayette College is a highly competitive liberal arts college located in Easton, Pennsylvania. There are approximately 30 English majors per year in the department. Many of them are double majors. The English department values critical discussions of race, gender, sexuality, emotional labor, and the social and cultural impact of literary and writing studies and practices in the twenty-first century. We believe that the history of our discipline requires interrogation and decolonization, and we are excited to build with colleagues towards a more imaginative future.

Maria Cangro

WA for ENG 231: Journalistic Writing with Prof. Parrish

lafayette college creative writing

Maria (she/her) is a senior majoring in English with a concentration in Creative Writing. Aside from being a WA, she is the president of the English Club.

Subject Strengths: literary analysis, creative writing (poetry, fiction, nonfiction), journalistic writing, political theory

Creative Writing

lafayette college creative writing

May 5, 2022

Macknight black student poetry contest winners.

Listen as Matt Gustafson ’22 and Milena Berestko ’22, who earned the top prize and honorable mention in the College's annual MacKnight Black Poetry…

lafayette college creative writing

Apr 4, 2022

Award-winning student poets share work.

Alex Thurtle ’24 and Madeline Marriott ’24 received top honors and honorable mention in the Jean E. Corrie Poetry Prize competition.

lafayette college creative writing

Feb 25, 2022

Upcoming lecture: blending art with activism to drive change.

Ahead of acclaimed author Valeria Luiselli's March 31 lecture, Lafayette is hosting a film series on migration and a book discussion on two of Luiselli’s…

lafayette college creative writing

Feb 17, 2022

Student writers recognized in flash fiction contest.

Student writers skillfully narrated plot, conflict, descriptions, and character development—all in 500 words or less.

lafayette college creative writing

May 13, 2021

Listen to student poets share celebrated work.

Lafayette’s English Department celebrates student poets at annual H. MacKnight Black Poetry Competition; hear them read their award-winning work.

lafayette college creative writing

Mar 15, 2021

Jean e. corrie poetry prize winners announced.

Shirley Liu ’23 and Fatimata Cham ’23 take top honors at Jean E. Corrie Poetry Prize.

lafayette college creative writing

Dec 23, 2020

Nine writers, one residency.

A range of distinguished writers visited classes, met with students, and gave readings on campus through the English department's Closs Residency.

lafayette college creative writing

Oct 8, 2020

Accidental poet.

Owen McLeod, philosophy professor and poet, serves as judge and reader at annual Jean Corrie Poetry competition.

lafayette college creative writing

Jun 17, 2020

A writer’s goodbye.

Prof. Lee Upton reflects on her teaching and writing career.

lafayette college creative writing

Mar 27, 2020

Shifting metaphors.

Atonal. Minimal. Complex. New compositions by Kirk O’Riordan shine on the album Autumn Winds.

Opportunities

lafayette college creative writing

Opportunities for students to find their creative-writing voices are plentiful outside the classroom.  The Marquis Literary Society publishes the student literary magazine, The Marquis . WORDS (Writing Organization Reaching Dynamic Students) organizes open mics for spoken word performances as well as other events.  Several Fringe Fridays each year at the Williams Center for the Arts give students another venue for sharing their writing with the campus community.  Students also can compete in annual writing competitions, edit student literary publications, attend readings and meet writers visiting campus, and give public readings of their own work to enthusiastic audiences.

Department of English

University of Louisiana at Lafayette

Department of english, college of liberal arts, search form.

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Resources and links.

  • Apply to write with us at University of Louisiana at Lafayette!
  • Have questions about our program?   Contact Jessica Alexander or Henk Rossouw
  • See what careers you can land with an English major.
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Creative Writing at UL

Whether you want to try traditional forms, avant garde language experiments, or compose your own fantasy novel adventure, the creative writing concentration will provide you with the skills and mentoring to make your inspirations come to life on the page.

The concentration in creative writing allows you to develop your creative voice and work. In classes, you will learn how producing literary writing relates to literary scholarship.

As a student, you can explore a range of the following forms:

  • Creative nonfiction
  • Screenwriting

A concentration in creative writing exposes you to a range of writing styles, while you explore both expressive and innovative uses of language. In our warm community of writers, artists, and faculty members, you will take the groundwork of the English major and create your own new work.

Joining a community of writers is an important part of our program and one way to get involved is through our creative writing club, Ragin Writers, which offers workshops, readings, social gatherings, and more. Undergraduates are also encouraged to submit their work to the Southwestern Review, the University’s in-house literary journal.

In addition to our great faculty, and writers-in-residence, our creative writing program is enhanced by the Deep South Festival of Writers.

Apply to Write with us!

New Digital Collections Launch This Fall

This fall, researchers can visit the Lafayette Digital Repository and explore two collections from Special Collections & College Archives.

General Eisenhower at Lafayette: Founders’ Day, 1946

General of the Army Eisenhower pauses for a minute as he emerges from Kirby Hall, after his meeting with the college's Board of Trustees. Left to right are the Hon. William H. Kirpatrick; Mr. F.J. Waltzinger, Dr. Hutchinson; General of the Army Eisenhower, Mr. T. F. Soles, Mr. Thos. J. Watson, Mr. Thomas W. Pomeroy and Mr. Francis G McKelvy.

Eisenhower outside of Kirby Hall of Civil Rights, Nov. 1, 1946

General Dwight D. Eisenhower, then Chief of Staff of the U.S. Army, was invited to address the College during Founders’ Day celebrations on November 1, 1946. He was also a guest of honor at the Easton Alumni Association’s dinner at the Hotel Easton. This visit was documented in a photograph album containing 31 images from the day’s events and presented to Lafayette College by Trustee Thomas J. Watson. In addition to Eisenhower, the collection features photos of Lafayette College Trustee Allan P. Kirby and President Ralph Cooper Hutchison.

Audio recordings of the day’s events, including Eisenhower’s speeches, are also preserved in Special Collections & College Archives. For more information, contact [email protected] .

The Marquis : A Lafayette Student Literary Magazine, 1947-2022

lafayette college creative writing

The Marquis, 1964

The Marquis literary magazine is now available electronically as a collection in the Lafayette Digital Repository. Debuting in 1947, the student editors of newly launched Marquis hoped to combine the best of two earlier student magazines, The Touchstone and The Lyre , which both ceased publication during World War II. 

The 138 digitized issues of The Marquis document the history of student creative writing at Lafayette College through poetry, prose, and humor pieces from the post-WWII era to recent years and offer snapshots of student life and perspectives over the last 75 years on College Hill.

This 1967 issue includes interviews with American literary giants Carson McCullers and Edward Albee.

Never fear – although defunct, The Touchstone and The Lyre remain preserved in hard copy in Special Collections & College Archives. Contact [email protected] to schedule a visit and browse these student publications, as well as our physical copy of The Marquis .

Welcome back, 'Pards! Access our Spring 2024 calendar here . 

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Warner Bros. Discovery

Publicity internships: la – summer 2024.

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Every great story has a new beginning, and yours starts here.

Welcome to Warner Bros. Discovery… the stuff dreams are made of.

Who We Are…

When we say, “the stuff dreams are made of,” we’re not just referring to the world of wizards, dragons and superheroes, or even to the wonders of Planet Earth. Behind WBD’s vast portfolio of iconic content and beloved brands, are the storytellers bringing our characters to life, the creators bringing them to your living rooms and the dreamers creating what’s next…

From brilliant creatives, to technology trailblazers, across the globe, WBD offers career defining opportunities, thoughtfully curated benefits, and the tools to explore and grow into your best selves. Here you are supported, here you are celebrated, here you can thrive.

Application Deadline: Friday, March 15th*

*Pro Tip: Submit your application as soon as possible – applications could close earlier due to applicant volume!*

Your New Role

We have multiple Publicity internship opportunities available. By applying to this posting, you will be considered for all internship opportunities within this area. These internships will be located in the LA area. The selected interns will be expected to join us in the office on a regular cadence based on the intern managers in office schedule.

This could include, but is not limited to:

  • Warner Bros. Global Theatrical Publicity Intern: LA – Summer 2024
  • Warner Bros. Television Publicity Intern: LA – Summer 2024
  • HBO/Max Media Relations and Publicity Intern: LA – Summer 2024

Your Role Accountabilities

Duties could include:

  • Support team in generation of weekly clip reports
  • Maintain status sheets, episode and/or film descriptions and other PR documents
  • Help pull and curate show specific assets including episodic and/or film photography and video clips
  • Manage department premium inventory
  • Assist with research projects and brainstorm sessions as needed
  • Compile show and/or film specific coverage reports to illustrate campaign reach.
  • Assist publicists with the organization, compilation, and distribution of show and/or film assets, including photos, clips, loglines, bios and headshots for press-related coverage and use.
  • Research new press contacts and curate show and/or film specific press lists to expand and target department outreach and coverage opportunities.
  • Assist with talent travel arrangements and itineraries for press days, junkets, and events.
  • Participate in department brainstorms to identify effective and unique campaign opportunities.
  • Track press coverage across all and distributing department updates
  • Brainstorm various press and social media opportunities
  • Utilize Cision to create media lists for campaigns, mailers or events
  • Work with the written communications department on writing/research assignments

Qualifications & Experience

Essentials needed for the positions that are similar across the above roles (these do not all have to apply to every single role)

  • Must be actively enrolled in a U.S. accredited college or university degree program for the full duration of the internship (proof of enrollment required)
  • Must be a rising Junior or Senior *Undergrad* Student (18 years or older)
  • Must be in academic good standing (3.0 or above GPA)
  • Warner Bros. Discovery will only consider candidates who are presently authorized to work for any employer in the United States and who will not require work visa sponsorship from Warner Bros. Discovery now or in the future in order to retain their authorization to work in the United States.
  • General understanding of PR concepts and practices
  • Strong knowledge and familiarity with brand-specific programming (i.e. Warner Bros. Pictures, HBO / Max, and Warner Bros. Television)
  • Strong interpersonal and communication skills (written and verbal)
  • Good judgment and ability to maintain confidentiality
  • Experience with office tools such as Google Suite, Excel, Word, social media apps, mobile and streaming devices
  • Must be proactive, resourceful, and agile within a hybrid, bicoastal work setting
  • Must be organized and detail-oriented and possess a can-do spirit

Nice To Haves

  • Media monitoring experience
  • Passion for pop culture and entertainment
  • Familiarity with entertainment and news-focused outlets
  • Graphic design experience is a bonus

What to know before applying:

The duration of the summer program regardless of which start/end option is 11 weeks. Program date options include:

  • Option 1: June 3rd – August 16th
  • Option 2: June 10th – August 23rd

Interns will be expected to work 35-40 hours per week in a hybrid capacity .

Our internships are paid opportunities with a competitive hourly wage. Credit is not required; however, we will provide the necessary documentation for school credit if desired. Relocation is not provided.

Interviewing will take place from February through mid-April. A WBD team member will contact you if your experiences and interests match an open internship position. Due to the high volume of applications, we are unable to give individual status updates.

About Our Internship Program

WBD’s Internship Program is designed to nurture students professionally and personally. We attract the country’s boldest and brightest students for paid, for-credit, real-world internship experiences in the entertainment, tech, sports, news and media industries. We offer career-defining opportunities to learn valuable skills that will help you prepare for a successful future.

Ready to learn more? Here’s what we offer:

  • Hands-on work with passionate, talented team members in your field
  • Mentorship from some of the industry’s kindest and most passionate entertainment veterans
  • Engaging events including professional development seminars, panels with recruiters and former interns, intern-exclusive events, and so much more
  • Access to top-level executives and employees through our Speaker Series and Roundtables
  • Incredible networking opportunities with industry-leading professionals and a robust intern alumni network
  • A creative, collaborative, and inclusive company culture

What you can expect to take away from the semester:

  • Opportunities to develop professionally and uncover skills you didn’t know you had
  • The insider scoop on the entertainment industry and what happens behind the scenes
  • Relationships that will go beyond your collegiate career
  • Real-life experiences that will provide you with the confidence to delve into your next adventure

In compliance with local law, we are disclosing the compensation, or a range thereof, for roles in locations where legally required. Actual salaries will vary and may be above or below the range based on various factors including but not limited to location, experience, and performance. The rate listed is just one component of Warner Bros. Discovery’s total compensation package for employees. Pay Rate: $19 per hour USD for undergrad interns, $25 per hour USD for graduate level interns.

How We Get Things Done…

This last bit is probably the most important! Here at WBD, our guiding principles are the core values by which we operate and are central to how we get things done. You can find them at www.wbd.com/guiding-principles/ along with some insights from the team on what they mean and how they show up in their day to day. We hope they resonate with you and look forward to discussing them during your interview.

The Legal Bits…

Warner Bros. Discovery embraces the opportunity to build a workforce that reflects the diversity of our society and the world around us. Being an equal opportunity employer means that we take seriously our responsibility to consider qualified candidates on the basis of merit, without regard to race, color, religion, national origin, gender, sexual orientation, gender identity or expression, age, mental or physical disability, and genetic information, marital status, citizenship status, military status, protected veteran status or any other category protected by law.

If you’re a qualified candidate and you require adjustments or accommodations to search for a job opening or apply for a position, please contact us at [email protected].

19th Edition of Global Conference on Catalysis, Chemical Engineering & Technology

Victor Mukhin

  • Scientific Program

Victor Mukhin, Speaker at Chemical Engineering Conferences

Title : Active carbons as nanoporous materials for solving of environmental problems

However, up to now, the main carriers of catalytic additives have been mineral sorbents: silica gels, alumogels. This is obviously due to the fact that they consist of pure homogeneous components SiO2 and Al2O3, respectively. It is generally known that impurities, especially the ash elements, are catalytic poisons that reduce the effectiveness of the catalyst. Therefore, carbon sorbents with 5-15% by weight of ash elements in their composition are not used in the above mentioned technologies. However, in such an important field as a gas-mask technique, carbon sorbents (active carbons) are carriers of catalytic additives, providing effective protection of a person against any types of potent poisonous substances (PPS). In ESPE “JSC "Neorganika" there has been developed the technology of unique ashless spherical carbon carrier-catalysts by the method of liquid forming of furfural copolymers with subsequent gas-vapor activation, brand PAC. Active carbons PAC have 100% qualitative characteristics of the three main properties of carbon sorbents: strength - 100%, the proportion of sorbing pores in the pore space – 100%, purity - 100% (ash content is close to zero). A particularly outstanding feature of active PAC carbons is their uniquely high mechanical compressive strength of 740 ± 40 MPa, which is 3-7 times larger than that of  such materials as granite, quartzite, electric coal, and is comparable to the value for cast iron - 400-1000 MPa. This allows the PAC to operate under severe conditions in moving and fluidized beds.  Obviously, it is time to actively develop catalysts based on PAC sorbents for oil refining, petrochemicals, gas processing and various technologies of organic synthesis.

Victor M. Mukhin was born in 1946 in the town of Orsk, Russia. In 1970 he graduated the Technological Institute in Leningrad. Victor M. Mukhin was directed to work to the scientific-industrial organization "Neorganika" (Elektrostal, Moscow region) where he is working during 47 years, at present as the head of the laboratory of carbon sorbents.     Victor M. Mukhin defended a Ph. D. thesis and a doctoral thesis at the Mendeleev University of Chemical Technology of Russia (in 1979 and 1997 accordingly). Professor of Mendeleev University of Chemical Technology of Russia. Scientific interests: production, investigation and application of active carbons, technological and ecological carbon-adsorptive processes, environmental protection, production of ecologically clean food.   

Quick Links

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  2. Welcome · Creative Writing · Lafayette College

    Welcome Get involved in Lafayette's lively literary culture! An accomplished group of published writers in the English department offers courses in creative writing, screenwriting, advanced creative writing in fiction and in poetry, environmental writing, creative nonfiction, and new media.

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    Creative Writing. Get involved in Lafayette's lively literary culture! Accomplished published writers in the English department offer courses in creative writing, screenwriting, advanced creative writing in fiction and in poetry, playwriting, environmental writing, creative nonfiction, humor writing, spiritual writing, and new media.

  5. Writing · English · Lafayette College

    Students in writing produce sophisticated texts through creative writing, journalism, rhetoric, screen writing, nonfiction prose, new media, and literature. A closeup of a writer's work on a laptop during a writing marathon. The event was organized by Lee Upton, writer in residence and professor of English.

  6. Spring 2022 · English · Lafayette College

    English 100 Academic Writing [W] Focuses on rhetorical awareness. In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students' own reading and ...

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  8. 2023-24 English Department, Visiting Assistant ...

    The English Department of Lafayette College seeks a Visiting Assistant Professor specializing in creative writing for the 2023-2024 academic year. Requirements are an MFA or equivalent credentials in creative writing, as well as experience in teaching creative writing at the undergraduate level.

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    Lafayette Creative Writing epitomizes lively literary culture. Accomplished, published writers offer engaging courses that promote growth and confidence in a wide range of creative writing styles. Opportunities also include a literary magazine, open mics, readings, writing competitions, a writing marathon, and meetings with visiting writers.

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  11. Creative Writing Archives

    Dec 23, 2020 Nine Writers, One Residency A range of distinguished writers visited classes, met with students, and gave readings on campus through the English department's Closs Residency. Oct 8, 2020 Accidental Poet Owen McLeod, philosophy professor and poet, serves as judge and reader at annual Jean Corrie Poetry competition. Jun 17, 2020

  12. Opportunities · Creative Writing · Lafayette College

    Opportunities for students to find their creative-writing voices are plentiful outside the classroom. ... Lafayette College Plan a Visit Contact (610) 330-5000. Connect With Us Twitter Facebook Flickr YouTube Instagram. Directory Offices & Resources College Store Employment Virtual Tour.

  13. Creative Writing

    Creative Writing Resources and Links Apply to write with us at University of Louisiana at Lafayette! Have questions about our program? Contact Jessica Alexander or Henk Rossouw See what careers you can land with an English major. Our department does amazing things. Check out recent news! Follow us on Facebook, Twitter, and Instagram.

  14. New Digital Collections Launch This Fall · Library · Lafayette College

    The 138 digitized issues of The Marquis document the history of student creative writing at Lafayette College through poetry, prose, and humor pieces from the post-WWII era to recent years and offer snapshots of student life and perspectives over the last 75 years on College Hill.

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  16. Publicity Internships: LA

    These internships will be located in the LA area. The selected interns will be expected to join us in the office on a regular cadence based on the intern managers in office schedule. Warner Bros. Global Theatrical Publicity Intern: LA - Summer 2024. HBO/Max Media Relations and Publicity Intern: LA - Summer 2024.

  17. Active carbons as nanoporous materials for solving of environmental

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