princeton creative writing undergraduate

Career Compass Explore career paths and connect with alumni who can help you along the way

• Creative Writing

Typically works of fiction, creative writing spans different genres and styles and can include short stories, novels, poetry, plays and scripts. Creative writing can be any type of written work that is not technical or analytical.

The skills you develop through practice and critique of your written work can prepare you for many career paths that require creativity and storytelling. In addition to writers, the literary and publishing industry needs people in business positions, such as agents, editors and marketers. 

Writing for publications, volunteering and getting involved with student groups that focus on fiction are important ways to gain experience. Start to build a portfolio of your written work — including related coursework and any of your work that has been published — so you are prepared to demonstrate your skills and accomplishments. 

Seeking out alumni who work in an area of interest to you is a great way to learn about their career journey and get advice. Conducting industry research to determine your target organizations and then reviewing postings on their websites is the best way to find opportunities for internships or full-time work.

Because this field spans multiple types of organizations and roles, there is not a single hiring process or timeline. Many organizations typically hire close to the start date for the position. Identifying organizations of interest and then checking their websites regularly or speaking to alumni who work there will offer insights into their specific recruiting cycles.

Undergraduate student groups

• Arch and Arrow
• Ellipses Slam Team
• figments Magazine
• The Playwright's Guild
• Princeton Writes
• Tiger Magazine

Related undergraduate certificates:

• Applications of Computing

Related graduate certificates: 

• Media and Modernity
• Master of Fine Arts (MFA)
• Master of Arts in Writing (M.A.)
• Ph.D. in Creative Writing, Literature or English

Professional organizations and associations are membership-based groups comprised of people working in a similar field. They can be helpful resources for students to learn more about a field, develop connections and discover related opportunities. You can search for related organizations and associations using a  database provided by the Princeton University Library .

More Information

Princeton alumni.

Princeton Correspondents on Undergraduate Research

creative writing

Writing lessons from my creative writing workshop.

This semester, I took my first fiction workshop in Princeton’s Creative Writing Program. I had taken two poetry courses in previous semesters and wanted to try something new. (Pro-tip: if you haven’t yet taken a CWR course, definitely consider applying for one before graduating).

Creative writing is, in many ways, a break from academic writing. It does not center on data, analysis, or argumentation. Instead, workshops focus on developing compelling images, characters, stories. Creative writing also has access to a wider variety of forms than academic writing, which tends to adhere to a narrow set of relatively conservative styles.

However, some of my workshop instructor’s writing advice has translated well to my academic writing. After all, writing is writing, and many of the same challenges confront both creative and academic writers. Below I’ve collected five of her best pieces of writing advice:

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Post Princeton Life: Interview with Isabelle Laurenzi ’15

For this year’s Spring Seasonal Series, entitled Post-Princeton Life: The Experiences of  PCUR Alumni, each correspondent has selected a PCUR alum to interview about what they have been up to. We hope that these interviews will provide helpful insight into the many different paths Princeton students take after graduation. Here, Raya shares her interview.

Teaching, travel, Congress, the Writing Center, political theory, Yale! Former PCUR chief correspondent Isabelle Laurenzi graduated from Princeton in 2015 with a degree in Religion. She has since gone on to pursue an array of adventures and projects. Most recently, Isabelle completed her first year of a Ph.D. program at Yale in political theory. For our seasonal spring series, I caught up with Isabelle to learn more about her time at Princeton and explorations after. In our conversation, Isabelle and I connected over our shared interest in interdisciplinary studies and the joy of pursuing one’s interests through varied avenues.

Continue reading Post Princeton Life: Interview with Isabelle Laurenzi ’15

Writing for Fun? (Part 2): Journalism and Academic Writing

In my last post, I started an exploration of writing on campus to understand how students approach the writing process outside the classroom in their own work and in extracurriculars. In that post, I considered creative writing and the ways academic writing can present a similar opportunity for expression and creativity.

In this post, I interview Sam Shapiro ’21 who is a Features Editor and writer for the Daily Princetonian. In my interview with Sam, we discussed the differences and similarities between journalism and academic writing and how to bring the thrill one feels when chasing a story for a publication to a term paper in class. Continue reading Writing for Fun? (Part 2): Journalism and Academic Writing

Writing for Fun? Part 1: Creativity and Academic Writing

We are constantly writing––composing emails, blackboard posts, essays, and dean’s date papers. In this two-part series, I am interested in understanding the different forms of writing students explore on campus. Specifically, I interview students who write for campus publications to see how they approach the writing process in their extracurriculars.

In this post, I Interview Serena Alagappan ’20, the Editor-in-Chief and a writer for Nassau Weekly. Serena is a comparative literature major who, for three years now, has shared poetry, cultural critiques, profiles, and fiction through the Nass. In my interview with Serena, we discuss creative writing and the connection she has experienced between her academic and personal writing. Serena encourages students to explore writing through the Creative Writing program and shares advice on how students can carry over the freedom and expression of creative writing into more formal and rigid academic subjects.

Continue reading Writing for Fun? Part 1: Creativity and Academic Writing

Unconventional Research: World Building in Creative Writing

When one thinks about research, there are certain images that come to mind: a student hunched over an old book in an empty library, or a solitary scientist in a lab coat mixing chemicals or observing animals. Emily McLean ’20 has done her fair share of the first type, as a potential Anthropology major with a strong interest in American History.

Emily is also my suitemate, and one day I heard her talking about an unfamiliar, unexpected genre of research: the research required for successful world building–the creation of a believable reality–in creative writing. Continue reading Unconventional Research: World Building in Creative Writing

Writing a Creative Thesis: An Interview with Edric Huang ’18

A couple of weeks ago, I interviewed Kristin Hauge about her independent work in the Music Department to highlight creative independent work in the arts. This week, I got in touch with Edric Huang, a senior in the Anthropology Department with certificates in Urban Studies and Creative Writing. Unlike most students on campus, he will be writing two theses this year. One is the classic research-based thesis that seniors in the sciences and humanities are familiar with, but the second will be a collection of poems for his Creative Writing Certificate. If you are unfamiliar with the kind of work that goes into creative theses, here’s what Edric had to share about his personal experience: Continue reading Writing a Creative Thesis: An Interview with Edric Huang ’18

Celebrating Senior Theses: An Interview with Claire Ashmead ‘17

In our spring series,  Senior Theses: A Celebration , we take a moment in the interlude between thesis deadlines and graduation to appreciate the diverse, personal, and impactful work of seniors’ capstone research projects.

Claire Ashmead completed two theses this spring: for her History concentration, a comparative study of McCarthyism and the Chinese Cultural Revolution, and, for her Creative Writing certificate, a novella entitled The Camel-Hair Coat . Here she reflects on writing and revising, family and loss, and the completion of her first book.  

What is your novella, The Camel-Hair Coat, about? It follows a girl, Daphne, who, four years ago, under mysterious circumstances, lost her mother in a terrible accident. Her intense grief over her mother’s death and profound yearning to know why her mother was taken away from her summons the ghost of her mother back from the dead. Daphne is faced with this choice: she can bring her mother back to reality, which she has wanted more desperately than she’s ever wanted anything before, but with terrible consequences for the rest of her family – her sister and grandmother. The price of bringing somebody back might be the exchange of other people you love, and even yourself. But if you really miss somebody – what wouldn’t you do?

How would you distill the book’s themes into a few words? Grief, wishes, and growing up.

What was the hardest part of writing the book? How much I had to revise. The book underwent a dramatic transformation, in part because I had two advisers: Joyce Carol Oates in the fall and then Jeffrey Eugenides in the spring. They’re completely different writers, which for me I think ended up being great: Joyce Carol Oates really tries to pull your creativity out of you, and she encouraged me to envision an alternative reality that ended up being a little confusing. Jeffrey Eugenides, on the other hand, is a very linear storyteller. When I gave him my draft, he told me he didn’t really understand what was going on, and that I needed to rewrite.

It was February, and I was hearing from my adviser that the 140 pages I’d generated needed to go. But in another sense that actually felt great.

At first that was very scary. It was February, and I was hearing from my adviser that the 140 pages I’d generated needed to go. But in another sense that actually felt great. I’d had the sneaking suspicion that the story needed a major change, and I wasn’t sure in what way. So I decided to structure it like a four-act play, where each act takes place in one day of one season. Once I had that structure, it was like, bingo! I know how this is going to develop.

In the second writing, I only kept maybe 3% of the words I’d previously written. But because I’d already created the spaces and characters in my head, writing the story the second time around actually took almost no effort, and required much less editing.

How did you juggle writing two separate theses? It was all about time management. I also really believe that just getting words on a page is so crucial. Often people feel like writing needs to be perfect when it comes out onto the page. My experience writing for Princeton Triangle Club has taught me that actually the hardest part is just starting, and as soon as you begin to write, your thoughts become clearer.

Also, the processes of the two theses were very different, which was helpful – if they were the same it probably would’ve been much more difficult for me to do the two. For my creative thesis, I wrote almost every day. With creative writing, I want to explore characters and change dialogue, so the earlier I get it out, the better. In history, it’s a very different beast: I like getting all of my secondary source reading and research done, getting it all into my head, and then putting it out onto the page. I would research for months and months, and then sit down and write a chapter in a day or two.

Describe your happy place as a writer. I have a two-room single in Edwards, so I have a room with my bed, and then another with a desk, facing the window. I wake up early, at 6 or 7 a.m., and would either go for a run or just go get coffee at Rojo’s, and then come to my desk in my little monastic sanctuary and write.

The first time I write something, I write in pen, by hand, on blank sheets of unlined paper. The great thing about writing by hand is that it’s physically exhausting, so you only say what you need to say, and the words you pick are more exact and intentional.

I’d sit down and write for about an hour and a half every morning, which would be about five double-spaced typed pages, sometimes more. The first sentence can sometimes be difficult, but as you start writing, you reenter the world. It’s like learning to ride a bike: you remember it, and you just push forward on the momentum of describing the scene.

The first sentence can sometimes be difficult, but as you start writing, you reenter the world. It’s like learning to ride a bike: you remember it, and you just push forward on the momentum of describing the scene.

Do you have a favorite section of the book? A lot of the book was plot that I just had to get through, and then there were a few scenes that made me feel that they were exactly why I wrote the book. Here are two paragraphs, after Daphne’s mother has come back and she is able to speak with her mother again.

Her mother took her hands. “At least you’ll have your father to walk you down the aisle. Mine was gone by the time I was your age. I missed him so much.”

“What’s it like?” Daphne asked. “Missing somebody?”

“You know, I’ve never thought about it.” Her mother frowned. “I’d say missing somebody is like remembering to pick up milk at the grocery store. Most of the time, you don’t think about it at all. And then all of a sudden the thought will just occur to you. I’ve got to pick up milk at the grocery store. And the thought will occur to you once a week, every month, every year, for forever. I’ve got to pick up milk at the grocery store. There, that’s it. I think about my father every day.”

If you’d like to read more of The Camel-Hair Coat, you can find it archived – with all senior theses – on the senior thesis digital archive , where it will be available starting after graduation on June 6 th , 2017.

— Zoe Sims, Natural Sciences Correspondent

The Imp Walks in the Door: Creativity in the Research Process

Staring at my computer screen, I blink. The black cursor, a vertical slit of a pupil, blinks back.

Uh-oh. I am trying to write the first essay for my environmental nonfiction class. But, sitting down to write, I can already feel the despondent haze of writer’s block descending. I swivel in my chair. I check my email but have no new messages. I type fdsajkl; on the first line of the page, and then delete it. What’s wrong with me? I think. Am I a writer or not?

Continue reading The Imp Walks in the Door: Creativity in the Research Process

A writer’s window: How poetry is changing how I see the world

In honor of National Poetry Month, my professor, Marie Howe, suggested writing a poem every day for the month of April. “Who’s up for it?” she asked our Advanced Poetry class . “It can be just a few lines. I’ll do it if you do it.”

I decided to write a poem right when I wake up each morning – figuring this is the only way I’d consistently get it done – and to forego my computer (and its associated, infinite distractions) in favor of a pencil and notebook. Every morning, I roll out of bed, perch myself on the wide windowsill of my ground-floor room, and write a poem.

I was shocked by how easily I could reshape my early-morning habits, and how much doing so affected the rest of my day. With this new routine has come a kind of freedom: my first thought of the day is no longer my calendar or breakfast or to-do list, but something creative and unlimited. I bring this creative lens with me through the rest of the day: watching milk gush over my cereal, stepping out into the April air, listening to a lecture about respiration across the animal kingdom. Continue reading A writer’s window: How poetry is changing how I see the world

Undergraduate Announcement 2023 - 2024

General information, program offerings:, program offerings.

In the Department of English , students read widely across the genres and periods of British, American and Anglophone literature and explore approaches to literary study with a distinguished, internationally renowned faculty. The department's ranks include historicists and formalists, theorists and poets, and postcolonialists and feminists; the faculty teach not only poetry, prose and drama, but film, music, art, architecture and technology. The department is united by a passion for works of the imagination and for thinking about what they mean and the difference they make in the world.

The department offers courses that cover more than two millennia of literature and culture, in settings ranging from large lectures to small seminars to one-on-one advising. A typical program of study embraces new and experimental writing, important rediscoveries and the most hallowed texts of the Western literary tradition, the "news that stays news." The department cultivates a common critical vocabulary and joins in debating enduring questions about art, language and society. The junior year begins with a diverse array of junior seminars, which couple the study of a specific subject with methodological training in critical reading and writing. Juniors and seniors pursue independent work on subjects of their choosing in collaboration with the faculty. The department also encourages majors who wish to pursue interdisciplinary work through certificate programs and minors.

English majors graduate as incisive readers, cogent thinkers and persuasive writers. They carry with them a lasting ability to take informed pleasure in all forms of literature, in the process of writing and in the meanings and powers of culture. Graduates go on to become leaders in such fields as education, law, medicine, journalism, business, politics and the creative arts. Simply put, learning to read closely and write fluently — the twin pillars of the discipline — are among the most valuable skills graduates can bring to the world's work.

Goals for Student Learning

Courses in the Department of English enable students to develop crucial transferable skills, including:

• Analytical, critical and interpretive skills — students develop these faculties through close attention to the structures of arguments, specific aspects of language and expression, and conceptual synthesis.
• Excellent writing — students develop the ability to communicate in clear, efficient and elegant prose, and to write deliberately with a specific audience in mind.
• The ability to read closely and carefully, to attend to historical, rhetorical and grammatical aspects of English.
• Attention to translation — many students work with texts in other languages, comparing them with their English translations, to comprehend how English relates, stylistically and historically, to materials in other languages.
• Research skills that will enrich and improve these reading and writing skills — for instance, students acquire tools and methods for archival research, to understand the history of books and book production, how to read data and various modes of expression and interpretation, and the histories of aesthetics and literary criticism.
• The ability to understand, engage and assess relevant critical work (secondary sources that comprise the discipline or interdisciplinary fields like American studies, African American studies, Asian American studies, etc.).
• The exercise of these skills with an understanding of historical developments of English-language literatures, demonstrating an ability to situate a text, movement or style in relation to broader aspects of period or genre.
• The exercise of these skills with an understanding of how particular English-language literatures and theories address, and are implicated in, historical operations of power and empire.
• The ability to propose a subject for sustained research, analysis or critical interpretation, and to see the project to effective completion.
• The ability to recognize, use and assess a variety of critical and theoretical perspectives.

In sum: students develop the ability to compose thoughtful, cogent, compelling and deliberate analytical writing, supported by careful consideration of evidence and informed by a comprehensive understanding of how language is implicated in questions of history, culture, aesthetic value and power.

Prerequisites

There are no specific prerequisite courses for the major in English, but prospective majors should take at least one course in English in the first and second years.

Program of Study

English majors must take a total of 10 courses: the Junior Seminar (ENG 300), one designated course in Literary and Cultural History (LCH), and eight departmental courses. The junior seminar is a topical introduction to research methods in the discipline and prepares students for their independent work. Literary and Cultural History (LCH) courses ask questions about tradition and transmission over longer periods, and provide background for more specialized study. 

Distribution Requirements

Departmental distribution requirements ensure breadth in each major's program of study. Everyone must take at least one course in each of the following areas:

• Literary and Cultural History (LCH)
• Literature and Culture before 1700 (pre-1700)
• Literature and Culture from 1700–1900 (1700–1900)
• Literature and Culture from 1900–present (post-1900)
• Difference and Diversity (D&D)
• Theory and Criticism (T&C)

Each semester, the department offers a wide variety of courses in each distribution area, and a full list is available on the department website. A single course cannot be used to satisfy two distribution requirements simultaneously. In total: There are six required distributions, plus the junior seminar (ENG 300), plus three additional English courses, for the 10 required courses for the major.

A few rules regarding departmental courses:

• Majors may not take English courses on a pass/D/fail (P/D/F) basis. This includes cross-listed courses, even if English is not the home department.
• Students who study abroad may count up to two courses taken abroad as departmental courses. The exception to this is the English department's UCL semester: students may count two classes plus the Princeton seminar.
• Cross-listed courses do not count against the Rule of 12 as long as the home department is not English.

The Rule of 12 . A student in the A.B. program is limited to 12 one-term courses (plus independent work) in a given department, plus up to two departmental prerequisites taken during the first year or sophomore year. Students who exceed the 31-course requirement for graduation may exceed the Rule of 12 by as many courses (e.g., if you take 32 courses total, you can exceed the rule of 12 by one course). For most English majors, this means only 12 courses primarily designated as English courses (ENG courses or cross-listed courses where ENG comes first—e.g., ENG 327/GSS 332). Departmental cognates do not count against the Rule of 12.

Departmental Tracks

Tracks and certificate programs.

Tracks in Creative Writing and Theater. The English department has many majors with a strong interest in creative writing and theater, and offers special programs for students pursuing certificates in those closely related subjects.

• Creative Writing: Students accepted to the certificate program in creative writing may cognate two CWR courses as departmental courses in English and may substitute a thesis in CWR for the thesis in English.

Theater: Students accepted to the certificate program in theater may cognate two THR courses as departmental courses in English.

Certificate Programs. English encourages students with interdisciplinary interests to bring them to the department, and to pursue connections with literary and cultural studies. Students who will receive a certificate in another discipline, and who can show (in their coursework or independent work) vital connections with their studies in English, may count one course in that discipline toward their studies in English, by permission of the director of undergraduate studies.

Independent Work

The junior seminar (eng 300).

The JRS is a required introduction to the methods of research and the arts of criticism that must be taken in the fall of junior year. During the sophomore sign-ins, students are placed into one of four seminars at Princeton. The junior seminar instructor advises each member of the seminar on class selection for the spring.

The completed junior paper takes the form of one 20–30-page JP, which is begun in conjunction with the junior seminar and which students complete in the spring semester, continuing the advising established during the junior seminar for the student's independent work.

The Senior Thesis

Theses are 60–75 pages in length, on a topic chosen in collaboration with the thesis adviser. One chapter or 20 pages of the thesis is due in December.

Senior Departmental Examination

All English majors take the senior departmental examination , which is explained in further detail here.

Honors are decided by each cohort and not a set number. Honors in English are computed at graduation according to the following percentages:

• Departmental courses (excluding the junior seminar): 50%
• Thesis: 25%
• Junior Independent Work: 7.5% junior paper; 7.5% junior seminar
• Senior Oral Exam and Reflection Paper: 10% (7.5% for the exam, 2.5% for the reflection paper)

Note that in English, it is not permissible to drop the lowest-graded departmental course from your average; all departmental courses are counted.

Study Abroad

The department encourages students to consider studying abroad. We especially invite students to consider the department's term at University College London. There, students attend a special LCH seminar with a Princeton English professor and receive support for independent work, while also attending courses taught through the University of London.

Courses taken abroad may, with approval, receive both departmental and distribution credit (in general, the department can accept two courses for study abroad). Students considering study abroad should consult the director of undergraduate studies at an early stage.

In the Department of English, students are trained to read critically and to attend to the imbricated histories of language, literature, culture and power. Students read widely across genres and periods of British, American and Anglophone literature as well as across a variety of critical and theoretical approaches. In addition to lectures and seminars devoted to poetry, prose and drama, English offers courses on cinema, photography, architecture, the public essay, and data and culture, among other media and topics. We encourage students to think across disciplines and languages, and we offer vital skills and resources that support independent research.

An English minor serves Princeton undergraduates from all majors, sharpening thinking and writing in ways that support work in their respective concentrations. English courses foreground language, style and rhetoric; they train students’ attention to effective writing as well as to a variety of analytical, critical and interpretive modes. In English courses, students pay close attention to the structures of arguments, to specific aspects of language and expression, to the history of literature in English, and to the cultural and grammatical aspects of the language. English courses also foreground the historical operations of language and power, affording students invaluable resources not only for addressing the inequities and disparities that shape our world but also for imagining the futures that can reinvent that world.

There are no specific prerequisite courses for the minor in English, but prospective minors are encouraged to take at least one course in English during their first or second year.

Admission to the Program

The Department of English will hold an “open enrollment” period every spring for prospective minors. While students are encouraged to declare in their sophomore year, to take advantage of departmental guidance and the potential “clusters” curated by faculty, they may declare a minor any time before the beginning of their junior spring. A student might join the minor after that, but only with the support of the DUS and their residential college dean, and after having a detailed conversation about advising and guidelines.

English courses taken prior to the formal declaration of the minor may be counted retroactively.

English minors must take five courses, at least two of which are seminars. Just as there are no prerequisites, there are also no required courses for the minor. As detailed above, the department will offer suggestions as to possible clusters, but we will also invite students to chart their own paths and propose a new cluster.

Minors are required to complete a reflection paper after completing the requirements for the minor. For this reflection paper, students are tasked with describing their paths through the minor and outlining the knowledge and skills they’ve acquired across their English courses.

Students may submit their reflection papers at any time after they’ve completed the course requirements for the minor, but no later than March of their senior spring. The reflection paper, submitted to the director of the English Minor and read by members of our Committee on Departmental Studies, is the equivalent, for minors, of the Senior Departmental Exam our graduating majors must take, which also includes (as one component) a reflection paper.

Additional Information

No more than one elected pass/D/fail course may be counted toward the requirements for the minor.

Students are not able to count courses taken to fulfill the requirements of their concentration toward the requirements for the minor (i.e., no double-counting).

• Simon E. Gikandi

Associate Chair

• Sophie G. Gee (spring)

Director of Undergraduate Studies

Director of graduate studies.

• Joshua I. Kotin
• Eduardo L. Cadava
• Andrew Cole
• Bradin T. Cormack
• Maria A. DiBattista
• Jill S. Dolan
• Jeff Dolven
• Diana J. Fuss
• William A. Gleason
• Gene Andrew Jarrett
• Claudia L. Johnson
• Lee C. Mitchell
• Jeff Nunokawa
• Sarah Rivett
• Gayle Salamon
• Esther H. Schor
• D. Vance Smith
• Nigel Smith
• Susan J. Wolfson

Associate Professor

• Zahid R. Chaudhary
• Sophie G. Gee
• Meredith A. Martin
• Kinohi Nishikawa
• Tamsen O. Wolff
• Autumn M. Womack

Assistant Professor

• Monica Huerta
• Robbie Richardson

Senior Lecturer

• Sarah M. Anderson
• Ryan Heuser

Visiting Lecturer

• Fintan O'Toole

For a full list of faculty members and fellows please visit the department or program website.

ENG 132 - Imagining America Not offered this year LA

Eng 200 - rewriting the world: literatures in english, 1350-1850 spring la, eng 203 - the essay spring la, eng 230 - public speaking not offered this year la, eng 235 - studies in the classical tradition (also cla 335/com 390/hls 335) spring la, eng 240 - origins and nature of english vocabulary (also cla 208/lin 208/tra 208) spring la, eng 259 - film and media studies (also ams 259) not offered this year la, eng 264 - contemporary theories of gender and sexuality (also gss 400) spring sa, eng 300 - junior seminar in critical writing fall, eng 302 - comparative history of literary theory (also com 303) not offered this year la, eng 303 - the gothic tradition (also com 372) spring la, eng 304 - children's literature spring la, eng 305 - contemporary literary theory (also com 312) not offered this year la, eng 306 - history of criticism (also com 340) fall la, eng 310 - the old english period (also med 310) not offered this year la, eng 311 - the medieval period (also med 309) not offered this year la, eng 312 - chaucer (also med 312) not offered this year la, eng 317 - poetry and poetics, 1500 to 1700 (also gss 407) spring la, eng 318 - shakespeare: toward hamlet (also thr 310) fall la, eng 319 - shakespeare: hamlet and after spring la, eng 323 - topics in german culture and society (also com 347/ger 307) fall/spring emla, eng 325 - milton (also com 371) not offered this year la, eng 330 - english literature of the 18th century (also ecs 368) not offered this year emla, eng 331 - the later romantics (also ecs 382) spring la, eng 334 - literatures of the american renaissance, 1820-1865 fall la, eng 338 - topics in 18th-century literature (also ams 348/his 318) not offered this year la, eng 339 - topics in 18th-century literature (also com 342/gss 438) fall la, eng 340 - topics in american literature (also ams 359) not offered this year la, eng 342 - indigenous literature and culture not offered this year cdla, eng 344 - topics in romanticism not offered this year la, eng 345 - 19th-century fiction fall la, eng 346 - 19th-century poetry not offered this year la, eng 347 - victorian literature and society not offered this year la, eng 348 - late victorian literature: decadence and rebellion not offered this year la, eng 349 - literature and photography (also com 352/ecs 342) fall la, eng 351 - american literature: 1865-1930 spring la, eng 352 - african american literature: origins to 1910 (also aas 353) fall la, eng 357 - topics in american literature fall la, eng 358 - caribbean literature and culture (also aas 343/ams 396/las 385) cdla, eng 360 - modern fiction fall la, eng 361 - modern drama i (also com 321/thr 364) fall la, eng 366 - african american literature: harlem renaissance to present (also aas 359) spring la, eng 368 - american literature: 1930-present (also ams 340) fall la, eng 370 - contemporary fiction not offered this year la, eng 371 - contemporary poetry not offered this year la, eng 372 - contemporary drama (also thr 372) not offered this year la, eng 373 - acting, being, doing, and making: introduction to performance studies (also ant 359/com 359/thr 300) not offered this year la, eng 383 - topics in women's writing (also ams 483/gss 395) fall cdla, eng 384 - topics in gender and sexuality studies (also gss 394) fall/spring cdla, eng 388 - topics in critical theory (also aas 391/com 399) fall/spring la, eng 390 - the bible as literature (also com 392/hum 390/tra 390) fall la, eng 392 - topics in african american literature (also aas 392/gss 341) not offered this year la, eng 393 - african american autobiography (also aas 325/rel 366) not offered this year la, eng 397 - new diasporas (also aas 397/com 348) not offered this year la, eng 401 - forms of literature la, eng 402 - forms of literature (also med 401) hala, eng 403 - forms of literature la, eng 404 - forms of literature (also com 448) not offered this year la, eng 405 - topics in poetry fall la, eng 409 - topics in drama (also hum 409/thr 410) fall la, eng 411 - major author(s) (also aas 413/ams 411) cdla, eng 412 - major author(s) la, eng 413 - major author(s) not offered this year la, eng 414 - major author(s) (also aas 455) spring la, eng 415 - topics in literature and ethics (also afs 415/com 446/jrn 415) fall cdem, eng 416 - topics in literature and ethics not offered this year la, eng 417 - topics in postcolonial literature (also afs 416/com 423) not offered this year la, eng 418 - topics in postcolonial literature not offered this year la, eng 420 - the lyric (also com 309/spa 349) not offered this year la, eng 424 - vladimir nabokov (also com 406/res 417/sla 417) fall la, eng 425 - topics in london (also com 462) not offered this year la, eng 440 - the modern european novel (also com 306) not offered this year la, eng 442 - god, satan, goddesses, and monsters: how their stories play in art, culture, and politics (also cla 352/his 353/rel 350) not offered this year cdec, eng 499 - princeton atelier (also aas 499/atl 499) fall la.

Program in Translation and Intercultural Communication (PTIC)

Creative writing (literary translation) (la).

Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 10-15 page sample, with commentary, of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on the art and practice of literary translation.

Office of the Dean of the College

Majors & minors.

Focused study in a field of interest frames the academic experience at Princeton.

Majors (previously called concentrations) are the departmental program of study that leads to a degree, either a Bachelor of Arts (A.B.) or a Bachelor of Science in Engineering (B.S.E.). Minors and certificates can be an excellent way to develop knowledge in an additional field or explore compelling junctions between disciplines. Consult the Undergraduate Announcement , program websites, and program directors for complete details and requirements.

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Major & Minor A.B.  | Major B.S.E.  | Minor  |  Department Website

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Films by 9 Princeton Students Win Awards at 50th Annual New Jersey Young Filmmakers’ Festival

Current visual art students and recent graduates awarded for film work in animation, documentary, experimental, and narrative genres

Nine Princeton undergraduate filmmakers have earned awards at the 50th Annual New Jersey Young Filmmakers’ Festival, nearly half of the 25 films awarded, and will screen their work at the festival premiere screening on June 15.

All nine of the Princeton filmmakers are either current students or recent graduates who have studied in the Program in Visual Arts. Allen Delgado ’23, Miriam Beams ’24 and Lana Glisic ’24, all recent graduates with certificates in the Program in Visual Arts, earned Jury’s Citation Awards for their films. Recent graduate and Practice of Art major Magnolia Wilkinson ’24 received a Jury’s Stellar Award for her experimental film, and Practice of Art major Paige Morton ’25 won a Jury’s Stellar Award for her short documentary film. Three undergraduate students taking animation courses were recognized for their exceptional work in the genre, including Tyler Benson ’24 with a Jury’s Stellar Award, Austria Merritt ’26 with a Jury’s Citation Award, and Minh Truong ’27 with a Director’s Choice Award. Jae-Kyung Sim ’24 won a Director’s Choice Award for his narrative film.

Several of the films screened last month in a series of events hosted by the Program in Visual Arts to showcase work by film students, including the annual Junior + Senior Film Festival and a screening of new work created in spring semester courses in digital animation, narrative filmmaking, and documentary filmmaking.

Founded in 1974, the New Jersey Young Filmmakers’ Festival (NJYFF) is a project of the Thomas A. Edison Media Arts Consortium. The festival’s purpose is to recognize, celebrate, and encourage emerging young talent in New Jersey, the state in which Thomas Edison first developed the motion picture. To be eligible, students ages 12-26 must either live in or attend school in New Jersey. NJYFF gives students the opportunity to submit their films to a highly respected and long-running film festival and have their work evaluated by prominent representatives in the field of film and media.

The full program, which includes all 25 award-winning student films, will be presented at the festival premiere screening at the Barrymore Film Center theater in Fort Lee, New Jersey.

More about the Award-winning Student Films

Experimental film.

Still from “No Birthday Party” by Magnolia Wilkinson ’24

Magnolia Wilkinson ’24 , No Birthday Party – Jury’s Stellar Award

Documentary Film

Still from “Goofball” by Paige Morton ’25

Paige Morton ’25 , Goofball –Jury’s Stellar Award

Narrative Film

Still from “Key Lime Pie” by Allen Delgado ’23

Allen Delgado ’23 , Key Lime Pie – Jury’s Citation Award

Still from “Theo the Phone Charger” by Jae-Kyung Sim ’24

Jae-Kyung Sim ’24 , Theo the Phone Charger – Director’s Choice Award  

Animated Film

Still from “I used to play bass” by Tyler Benson ’24

Tyler Benson ’24 , I used to play bass – Jury’s Stellar Award

Still from “Transformation Matrix” by Lana Glisic ’24

Lana Glisic ’24 , Transformation Matrix – Jury’s Citation Award

Miriam Beams ’24 , River Construction – Jury’s Citation Award

Austria Merritt ’26 , The Evil Wizard and the Lizard – Jury’s Citation Award

Minh Truong ’27 , Have My Heart – Director’s Choice Award

Press Contact

Steve Runk Director of Communications 609-258-5262 [email protected]

Princeton Arts Alumni Celebrates 10 Years at Annual Reunions Gathering

Spring 2024 Student Film Screenings

2024 Junior + Senior Film Festival

• visual arts
• student awards

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Board approves 14 new faculty appointments

Photo by Danielle Capparella, Office of Communications

The Princeton University Board of Trustees has approved the appointment of 14 faculty members, including two full professors, two associate professors and 10 assistant professors.

Ayşegül Şahin, in economics and public affairs, specializes in empirical macroeconomics. Her appointment is effective July 1, 2025.

Şahin has taught since 2018 at the University of Texas at Austin as the Richard J. Gonzalez Regents Chair in Economics. Prior to that, she was a research economist at the Federal Reserve Bank of New York from 2004 to 2018. She began her academic career as an assistant professor at Purdue University from 2002 to 2004.

Şahin is a research associate of the National Bureau of Economic Research and serves on the Economic Advisory Panel to the Congressional Budget Office, in addition to advisory roles at the Bureau of Labor Statistics, the Carnegie-Rochester-NYU conference and the Federal Reserve Bank of San Francisco, among others.

Her work focuses on topics that include unemployment, labor force participation, entrepreneurship and inflation. Her research on macro-labor issues has received grants from the National Science Foundation and the Smith Richardson Foundation.

Şahin is the editor of the American Economic Journal: Macroeconomics, having served as co-editor since 2020; she is the author of dozens of papers in journals including the American Economic Review, Brookings Papers on Economic Activity, and the Journal of Monetary Economics. She has presented at numerous conferences and taught seminars at institutions around the world.

Şahin  earned a Ph.D. and an M.A. from the University of Rochester, as well as a B.S. and M.S. from Bilkent University in Ankara, Turkey.

Guillermo Sapiro, in electrical and computer engineering, specializes in image processing and smart healthcare. His appointment is effective Sept. 1.

Sapiro comes to Princeton from Duke University, where he has taught since 2012, most recently as the James B. Duke Distinguished Professor of Electrical and Computer Engineering and a faculty member of the Duke Institute for Brain Sciences.

Prior to that he held multiple appointments, including two endowed professorships, at the University of Minnesota, where he taught from 1997 to 2012. He worked on the technical staff at  Hewlett Packard Labs from 1994 to 1997.

Sapiro is a member of the National Academy of Engineering and the American Academy of Arts & Sciences, and a fellow of IEEE and the Society for Industrial and Applied Mathematics (SIAM). His academic honors include a National Science Foundation Career Award and a Presidential Early Career Award for Scientist and Engineers.

His research interests include computer vision, machine learning, computational vision and biomedical imaging, among others. His industry engagements include work as a Microsoft data science investigator and as a distinguished engineer with Apple, where he leads the Health AI initiative. He is the co-founder of Surgical Information Sciences.

Sapiro has authored more than 500 journals and book chapters in addition to his book, “Geometric Partial Differential Equations and Image Analysis,” (Cambridge University Press, 2001). He holds 13 patents. He was founding editor-in-chief of the SIAM Journal on Imaging Sciences.

He earned a Ph.D. and B.S. from the Israel Institute of Technology.

Associate professor

Gerald Carter, in ecology and evolutionary biology, specializes in ecology. His appointment is effective Sept. 1.

Carter comes to Princeton from Ohio State University, where he has taught since 2023, most recently as an associate professor.

He earned a B.S. from Cornell University, an M.S. from the University of Western Ontario, and a Ph.D. from the University of Maryland.

Kirstin Valdez Quade, in creative writing in the Lewis Center for the Arts, specializes in creative writing. Quade returns to Princeton, where she taught from 2016 to 2023, after teaching at Stanford University for the 2023-24 academic year. Her appointment is effective July 1.

Quade is the author of the novel “The Five Wounds,” winner of the Center for Fiction’s First Novel Prize and the Rosenthal Family Foundation Award from the American Academy of Arts and Letters. She is the recipient of a 2024 Guggenheim Fellowship in fiction.

She earned a B.A. from Stanford University and an M.F.A. from the University of Oregon.

Assistant professor

Bjoern Bringmann, in mathematics, joins the faculty in August. Bringmann specializes in partial differential equations and probability theory and holds a Ph.D. from the University of California-Berkeley, an M.S. from the Technical University of Munich, and a B.S. from the University of Münster. He has been a member or visitor of the School of Mathematics at the Institute for Advanced Study from 2021 to 2024.

Michael Brinley, in history, joins the faculty in September. Brinley specializes in Soviet and post-Soviet history. He holds a Ph.D. from the University of Pennsylvania, an M.A. from the University of Washington, and a B.A. from Pepperdine University.

Amelia Frank-Vitale, in anthropology and international affairs, joins the faculty in July. Frank-Vitale specializes in Latino studies and holds a Ph.D. from the University of Michigan, an M.A. from American University, and a B.A. from Yale University.

Marc Auréle Gilles, in mathematics, joins the faculty in September. Gilles specializes in numerical linear algebra and computational imaging and holds a Ph.D. from Cornell University and a B.A. from Rutgers University.

Susanna V. Haziot, in mathematics, joins the faculty in September. Haziot specializes in nonlinear partial differential equations and comes to Princeton from Brown University, where she has been an assistant professor since 2021. She holds a Ph.D. and an M.S. from the University of Vienna and a B.A. from Northwestern University.

Marcus Lee, in African American studies, joins the faculty in July 2025. Lee specializes in gender and sexuality studies and American politics, and holds a Ph.D. from the University of Chicago and a B.A. from Morehouse College. Lee has been a lecturer at Princeton since 2022.

Nicholas Rolle, in linguistics in the Council of the Humanities, joins the faculty in July. Rolle specializes in phonology and morphology, and holds a Ph.D. from the University of California-Berkeley and an M.A. and B.A. from the University of Toronto.

Tom Silver, in electrical and computer engineering, joins the faculty in September 2025. Silver specializes in learning and abstractions for robot planning and has a Ph.D. and S.M. from the Massachusetts Institute of Technology and an A.B. from Harvard University.

Julien Stout, in French and Italian, joins the faculty in July. Stout, who specializes in medieval French literature and culture, has a Ph.D. and B.A. from the University of Montreal and an M.A. from McGill University.

Lilia S. Xie, in chemistry and the Princeton Materials Institute, joins the faculty in January 2025. Xie specializes in materials chemistry and holds a Ph.D. from the Massachusetts Institute of Technology and a B.A. from Princeton.

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	University of Maryland, Baltimore County
	Jun 08, 2024   2024-2025 Undergraduate Catalog     2024-2025 Undergraduate Catalog Offered by English . The Creative Writing Minor at UMBC is appropriate for students of any major who are interested in creative writing as a form of expression. Students study the craft of writing across genres, including fiction, creative nonfiction, and poetry. They learn to read critically, produce and revise their own creative work, and share feedback on their peers’ writing in a supportive workshop setting. Beyond the classroom, they engage with the wider creative community, attending campus literary events and exploring publishing opportunities. By cultivating the habits of productive writers, students grow as self-editors and are able to continue creative pursuits after their undergraduate studies. Minor Requirements Minimum of 21 credits Minimum grade of ‘C’ in courses applied to the minor ENGL 203    must be completed in residence at UMBC Other creative writing courses may be transferred in, if equivalency is determined for them Up to 6 credits from the minor may be counted as part of the English, B.A.   Course Requirements Required course (3 credits). Complete the following: ENGL 203 - Creative Writing Study and Practice (3) Elective Courses (18 credits) Complete 18 credits of ENGL courses including a minimum of 12 credits at the 300-level and 3 credits at the 400-level. 200-level Creative Writing Students may complete one additional 200-level course from the following: ENGL 271 - Introduction to Creative Writing - Fiction (3) ENGL 272 - Introduction to Creative Writing-Scriptwriting (3) ENGL 273 - Introduction to Creative Writing - Poetry (3) ENGL 291 - Introduction to Writing Creative Essays (3) 300-level Creative Writing Complete a minimum of two 300-level Creative Writing courses from the following: ENGL 303 - The Art of the Essay (3) ENGL 371 - Creative Writing-Fiction (3) ENGL 372 - Creative Writing: Scriptwriting (3) ENGL 373 - Creative Writing-Poetry (3) ENGL 375 - Topics in Creative Writing (3) 300-level Literature and Culture Complete a minimum of two 300-level Literature and Culture courses from the following: ENGL 304 - British Literature: Medieval and Renaissance (3) ENGL 305 - British Literature: Restoration to Romantic (3) ENGL 306 - British Literature: Victorian and Modern (3) ENGL 307 - American Literature: from New World Contact to the Civil War (3) ENGL 308 - American Literature: The Civil War to 1945 (3) ENGL 310 - Topics in Poetry (3) ENGL 312 - Topics in Fiction (3) ENGL 314 - Topics in Drama (3) ENGL 315 - Studies in World Literature (3) ENGL 316 - Literature and the Other Arts (3) ENGL 317 - Literature and the Sciences (3) ENGL 318 - Myth and Literature (3) ENGL 331 - Contemporary British Literature (3) ENGL 332 - Contemporary American Literature (3) ENGL 334 - Medieval Literature (3) ENGL 336 - Medieval and Early Modern Drama (3) ENGL 339 - Early Modern Literature (3) ENGL 340 - Major Literary Traditions and Movements (3) ENGL 344 - Topics in Textual Studies (3) ENGL 345 - Topics in Literature and History (3) ENGL 346 - Literary Themes (3) ENGL 347 - Contemporary Developments in Literature & Culture (3) ENGL 348 - Literature and Culture (3) ENGL 349 - The Bible and Literature (3) ENGL 350 - Major British and American Writers (3) ENGL 351 - Studies in Shakespeare (3) ENGL 360 - The Literature of Minorities (3) ENGL 361 - Studies in Black Drama (3) ENGL 362 - Studies in Black Poetry (3) ENGL 364 - Perspectives on Women in Literature (3) ENGL 366 - World Literature Written in English (3) ENGL 369 - Race and Ethnicity in U.S. Literature (3) 400-level Creative Writing Complete a minimum of one 400-level course from the following: ENGL 403 - Advanced Creative Writing: Non-Fiction (3) ENGL 471 - Advanced Creative Writing-Fiction (3) ENGL 473 - Advanced Creative Writing-Poetry (3) ENGL 475 - Special Studies in Creative Writing (3) ENGL 495 - Internship (1-4) Western Colorado University Graduate Program in Creative Writing Announces New Screenwriting Director Western Colorado University’s Graduate Program in Creative Writing (GPCW) is excited to announce the hiring of veteran screenwriter James Napoli as the program’s new Screenwriting Director. In his role as a professional story analyst for Los Angeles production companies, Napoli has read and evaluated nearly a thousand works for the screen. His screenplay Nick & Vin was a top ten percent finisher in the Academy Nicholl Fellowships, and he is currently developing an original one-hour television pilot project, Nightside . He has optioned three original screenplays and has written and directed the festival award-winning dramatic short films The Priests and Nobody Gets Hurt . He co-created and co-hosted the cinema-themed podcast Movies Not Movies, and, as Head Writer for the Sirius/XM audio drama program New Frequency , he created over fifty original plays in every genre. Napoli’s scholarly work includes contributions to The Handbook of Script Development (Palgrave Macmillan), Perform: Succeeding as a Creative Professional (Focal Press), and Routledge Research in Higher Education’s Globally Networked Teaching in the Humanities: Theories and Practices . For many years, he also contributed articles on screenplay craft to Creative Screenwriting Magazine . “I am delighted to take on this new role as part of a remarkable program that nurtures artistry and develops the unique, individual voices writers will need to stand out in their professions,” Napoli said. “I cannot imagine a community of students and colleagues that could be more wonderfully aligned with my approach to screenwriting, teaching, learning and life.” The GPCW is thrilled to welcome Napoli into the program and enthusiastic about how his leadership will help grow the Screenwriting concentration. CMarie Fuhrman, Associate Director of the GPCW and Chair of the Screenwriting Director Search Committee, said, “James’s eagerness, congeniality, approachability, and industry and craft knowledge, coupled with his desire to find a home for his career and passion, make us confident that he will build the Screenwriting program to nationwide visibility and be a valuable and wonderful teacher and colleague.” For more information about Western’s graduate-level screenwriting program, contact GPCW Program Support Coordinator Sarah Goettsch at [email protected] . Author Credit: Seth Mensing Photo Credit: Courtesy Related Stories Western’s Newest Graduate Program is Already Making a Difference in Rural Communities Western’s Clark School wins grant to help add value to internships Western Skimo Athlete Brianna Rickert Aims for Olympic Gold Take the next step. Apply to Western We understand that applying to a university can be daunting, which is why we make our admission process as simple and straightforward as possible. Learn more about applying to your program of choice at Western. Visit Western The best way to find out what makes Western such a special place is to experience it for yourself. Our student-led tours give you an insider’s perspective on everything from academics to student life. Alumni Community We keep the Mountaineer spirit going strong within our alumni community. Whether getting together with friends at an annual event, making a donation or mentoring a student, graduates continue to play an important role in the Western community. Request Information Want to discover more about Western? Request information today to get in touch with the admissions team. Select your Undergraduate Student Type   Quick Links   Menu | | | Need ? For help with this page, contact Office of the Registrar at .     Purdue University       Jun 08, 2024   2024-2025 University Catalog     2024-2025 University Catalog | About the Program While pursuing a BA in Creative Writing, students study literary texts and then produce their own poetry or fiction. The creative writing student is an artist. This major is perfect for those who love to write poems or stories, and who plan to do so no matter what. In addition to the required five courses in poetry or fiction writing, students must take five courses in English Literature or English Language. While some creative writing students attend graduate school to hone their skills and develop their art, others practice their craft in commercial industries like marketing or publishing. Ultimately, creative writers learn many skills that employers find desirable. The Bell Tower , an undergraduate-run magazine for the arts affiliated with Purdue University’s Department of English, was founded in 1995 and is published yearly. Books and Coffee talks (hosted by the Department of English) are held several times throughout the school year. Coffee and tea are available, followed by a half-hour talk about a selected work. The series is popular with faculty, staff, and students. College of Liberal Arts Degree Requirements 120 credits required, liberal arts curriculum. Each liberal arts major is designed as a four-year plan of study and includes three types of courses: Major, Core, and Elective. Most students take five courses per semester, with some of each type. Professional academic advisors meet individually with each of our students on a regular basis to help with course selection, academic planning, and career development, as well as to help students find additional resources on campus. Departmental/Program Major Course Requirements (30 credits) Required course (3 credits). A grade of “B-” or better is required before attempting courses in Area A. ENGL 20500 - Introduction To Creative Writing Credits: 3.00 ♦ A. Creative Writing Courses - Choose Four (12 credits) All Creative Writing courses except 20500, 31600, and 31700 may be repeated once by Creative Writing majors for credit. (The 40000 and 50000 level courses should be taken in order in any given genre; exceptions are granted by the permission of instructor.) ENGL 31600 - Craft Of Fiction From A Writer’s Perspective Credits: 3.00 ENGL 31700 - Craft Of Poetry From A Writer’s Perspective Credits: 3.00 ENGL 40700 - Intermediate Poetry Writing Credits: 3.00 ENGL 40800 - Creative Writing Capstone Credits: 3.00 ENGL 40900 - Intermediate Fiction Writing Credits: 3.00 ENGL 50700 - Advanced Poetry Writing Credits: 3.00 ENGL 50900 - Advanced Fiction Writing Credits: 3.00 B. Engaging English (3 credits) May be taken concurrently with ENGL 20500. ENGL 20200 - Engaging English Credits: 3.00 ♦ C. Literature/Linguistics/English Education (12 credits) Any ENGL course not taken above; at least 9 credit hours must be at the 30000 level or above. Other Departmental (31-55 credits) The College of Liberal Arts Other Departmental area is designed to be experiential, informative, and relevant to life in a rapidly changing universe. It combines courses that fulfill University Core foundational outcomes, discipline diversity, social diversity, and other languages to produce a well-rounded background for students. Coursework is integrative and collaborative and fosters insight, understanding, independence, initiative, and the desire to reach across divides and redefine our relationship to the peoples and the worlds that surround us. Core I: Disciplinary Diversity (6-18 credits) Choose 1 course in 6 different disciplines within the College of Liberal Arts. Note: Disciplines are differentiated by course prefix. Undistributed credit does not count to satisfy this requirement. Core II: Social Diversity (1-3 credits) Culture, religion, disability, gender, sexual orientation, race and ethnicity all play a role in how others perceive us and how we experience the world, and as such, are meaningful categories for analyzing social change and social problems past and present. The purpose of this category is to acquaint students with the pluralistic nature of the world and foster an appreciation and awareness of the diverse range of lived human experience. Courses in this list will expose students to important aspects of human diversity and foster understanding about different world views. Choose one course from this list: CLA Core II - Social Diversity Selective List   . Core III: Linguistic Diversity (3-4 credits) Proficiency through Level IV in one world language. Courses may be required to reach Level IV proficiency; these courses will be counted toward electives. Foundational Requirements (21-30 credits) Students must complete approved coursework that meet the following foundational outcomes. Many of these can also be used to fulfill Core I, Core II, or Core III. Humanities - all approved courses accepted. Behavioral/Social Science - all approved courses accepted. Information Literacy - all approved courses accepted. Science #1 - all approved courses accepted. Science #2 - all approved courses accepted. Science, Technology, and Society - all approved courses accepted. Written Communication - all approved courses accepted. Oral Communication - all approved courses accepted. Quantitative Reasoning - all approved courses accepted. Double counting of courses is allowed across the various categories. All accredited programs whose accreditation is threatened by CLA Core requirement, both professional BAs and BFAs, are exempt from Liberal Arts Core I & II in order to meet accreditation standards and requirements. Liberal Arts Core III: Linguistic Diversity is still required for such programs. “Degree +” students (students with a second major outside of Liberal Arts) are exempt from the CLA Core. Electives (35-59 credits) Grade requirements. A grade of “B-” or better in ENGL 20500 is required before attempting courses in Area A. Course Requirements and Notes All Creative Writing courses (Area A) except 20500, 31600, and 31700 may be repeated once by Creative Writing majors for credit. (The 40000 and 50000 level courses should be taken in order in any given genre; exceptions are granted by the permission of instructor.) College of Liberal Arts Pass/No Pass Option Policy P/NP cannot be used to satisfy Liberal Arts Core, Liberal Arts major, minor, or certificate requirements. University Requirements University core requirements, for a complete listing of university core course selectives, visit the provost’s website .. Human Cultures: Behavioral/Social Science (BSS) Human Cultures: Humanities (HUM) Information Literacy (IL) Oral Communication (OC) Quantitative Reasoning (QR) Science #1 (SCI) Science #2 (SCI) Science, Technology, and Society (STS) Written Communication (WC)  Civics Literacy Proficiency Requirement The civics literacy proficiency activities are designed to develop civic knowledge of purdue students in an effort to graduate a more informed citizenry. for more information visit the civics literacy proficiency  website.. Students will complete the Proficiency by passing a test of civic knowledge, and completing one of three paths: Attending six approved civics-related events and completing an assessment for each; or Completing 12 podcasts created by the Purdue Center for C-SPAN Scholarship and Engagement that use C-SPAN material and completing an assessment for each; or Earning a passing grade for one of  these approved courses (or transferring in approved AP or departmental credit in lieu of taking a course). Upper Level Requirement Resident study at Purdue University for at least two semesters and the enrollment in and completion of at least 32 semester hours of coursework required and approved for the completion of the degree. These courses are expected to be at least junior-level (30000+) courses. Students should be able to fulfill most , if not all , of these credits within their major requirements; there should be a clear pathway for students to complete any credits not completed within their major. Additional Information Liberal Arts offers a streamlined plan of study for students pursuing a second degree outside CLA. Contact the CLA Advising Office for more information. Sample 4-Year Plan Fall 1st year. Written Communication - Credit Hours: 3.00-4.00 World Language Level I  - Credit Hours: 3.00 Quantitative Reasoning - Credit Hours: 3.00 Behavioral/Social Sciences (CLA Core I: 1 of 6) - Credit Hours: 3.00 15-16 Credits Spring 1st year. Oral Communication - Credit Hours: 3.00 World Language Level II - Credit Hours: 3.00 Humanities (CLA Core I: 2 of 6) - Credit Hours 3.00 Science - Credit Hours: 3.00 Fall 2nd Year Area A Creative Writing Selective - Credit Hours: 3.00 Area C Selective - Credit Hours: 3.00 World Language Level III - Credit Hours: 3.00 CLA Core I: 3 of 6 - Credit Hours: 3.00 Spring 2nd Year Area C Selective - Credit Hours: 3.0 World Language Level IV (CLA Core III) - Credit Hours: 3.00 Science, Technology, and Society - Credit Hours: 3.00 CLA Core I: 4 of 6 - Credit Hours: 3.00 Fall 3rd Year CLA Core I: 5 of 6 - Credit Hours: 3.00 CLA Core II: Diversity Selective - Credit Hours: 3.00 Elective - Credit Hours 3.00 Spring 3rd Year Area A Creative Writing Selective - Credit Hours 3.00 CLA Core I: 6 of 6 - Credit Hours: 3.00 Elective - Credit Hours: 3.00 Fall 4th Year Area C Selective - Credit Hours 3.00 Elective - Credit Hours: 3.00 Spring 4th Year Pre-requisite information. For pre-requisite information, log in to mypurdue.purdue.edu and click here . World Language Courses World Language proficiency requirements vary by program. The following list is inclusive of all world languages PWL offers for credit; for acceptable languages and proficiency levels, see your advisor. (ASL-American Sign Language; ARAB-Arabic; CHNS-Chinese; FR-French; GER-German; GREK-Greek(Ancient); HEBR-Hebrew(Biblical); HEBR-Hebrew(Modern); ITAL-Italian; JPNS-Japanese; KOR-Korean; LATN-Latin; PTGS=Portuguese; RUSS-Russian; SPAN-Spanish) The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva) << Previous page Pages:  379-406 In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation. Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Shopping Cart Items: 0 Cart Total: 0,00 € place your order Price pdf version student - 2,75 € individual - 3,00 € institutional - 7,00 € Copyright В© 1999-2022. Stratum Publishing House Bahasa Indonesia Eastern Europe Moscow Oblast Elektrostal Elektrostal Localisation : Country Russia , Oblast Moscow Oblast . Available Information : Geographical coordinates , Population, Altitude, Area, Weather and Hotel . Nearby cities and villages : Noginsk , Pavlovsky Posad and Staraya Kupavna . Information Find all the information of Elektrostal or click on the section of your choice in the left menu. Update data Country Oblast Elektrostal Demography Information on the people and the population of Elektrostal. Elektrostal Population 157,409 inhabitants Elektrostal Population Density 3,179.3 /km² (8,234.4 /sq mi) Elektrostal Geography Geographic Information regarding City of Elektrostal . Elektrostal Geographical coordinates Latitude: , Longitude: 55° 48′ 0″ North, 38° 27′ 0″ East Elektrostal Area 4,951 hectares 49.51 km² (19.12 sq mi) Elektrostal Altitude 164 m (538 ft) Elektrostal Climate Humid continental climate (Köppen climate classification: Dfb) Elektrostal Distance Distance (in kilometers) between Elektrostal and the biggest cities of Russia. Elektrostal Map Locate simply the city of Elektrostal through the card, map and satellite image of the city. Elektrostal Nearby cities and villages Elektrostal Weather Weather forecast for the next coming days and current time of Elektrostal. Elektrostal Sunrise and sunset Find below the times of sunrise and sunset calculated 7 days to Elektrostal. Day Sunrise and sunset Twilight Nautical twilight Astronomical twilight 8 June 02:43 - 11:25 - 20:07 01:43 - 21:07 01:00 - 01:00 01:00 - 01:00 9 June 02:42 - 11:25 - 20:08 01:42 - 21:08 01:00 - 01:00 01:00 - 01:00 10 June 02:42 - 11:25 - 20:09 01:41 - 21:09 01:00 - 01:00 01:00 - 01:00 11 June 02:41 - 11:25 - 20:10 01:41 - 21:10 01:00 - 01:00 01:00 - 01:00 12 June 02:41 - 11:26 - 20:11 01:40 - 21:11 01:00 - 01:00 01:00 - 01:00 13 June 02:40 - 11:26 - 20:11 01:40 - 21:12 01:00 - 01:00 01:00 - 01:00 14 June 02:40 - 11:26 - 20:12 01:39 - 21:13 01:00 - 01:00 01:00 - 01:00 Elektrostal Hotel Our team has selected for you a list of hotel in Elektrostal classified by value for money. Book your hotel room at the best price. Located next to Noginskoye Highway in Electrostal, Apelsin Hotel offers comfortable rooms with free Wi-Fi. Free parking is available. The elegant rooms are air conditioned and feature a flat-screen satellite TV and fridge... from Located in the green area Yamskiye Woods, 5 km from Elektrostal city centre, this hotel features a sauna and a restaurant. It offers rooms with a kitchen... from Ekotel Bogorodsk Hotel is located in a picturesque park near Chernogolovsky Pond. It features an indoor swimming pool and a wellness centre. Free Wi-Fi and private parking are provided... from Surrounded by 420,000 m² of parkland and overlooking Kovershi Lake, this hotel outside Moscow offers spa and fitness facilities, and a private beach area with volleyball court and loungers... from Surrounded by green parklands, this hotel in the Moscow region features 2 restaurants, a bowling alley with bar, and several spa and fitness facilities. Moscow Ring Road is 17 km away... from Elektrostal Nearby Below is a list of activities and point of interest in Elektrostal and its surroundings. Elektrostal Page Direct link DB-City.com Elektrostal /5 (2021-10-07 13:22:50) Information /Russian-Federation--Moscow-Oblast--Elektrostal#info Demography /Russian-Federation--Moscow-Oblast--Elektrostal#demo Geography /Russian-Federation--Moscow-Oblast--Elektrostal#geo Distance /Russian-Federation--Moscow-Oblast--Elektrostal#dist1 Map /Russian-Federation--Moscow-Oblast--Elektrostal#map Nearby cities and villages /Russian-Federation--Moscow-Oblast--Elektrostal#dist2 Weather /Russian-Federation--Moscow-Oblast--Elektrostal#weather Sunrise and sunset /Russian-Federation--Moscow-Oblast--Elektrostal#sun Hotel /Russian-Federation--Moscow-Oblast--Elektrostal#hotel Nearby /Russian-Federation--Moscow-Oblast--Elektrostal#around Page /Russian-Federation--Moscow-Oblast--Elektrostal#page Terms of Use Copyright © 2024 DB-City - All rights reserved Change Ad Consent Do not sell my data Skip to content Skip to this site's menu Skip to search Welcome to Brock University Information for. 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Copyright © 2024 Brock University Non-discrimination Policy University policies Privacy Accessibility Niagara Region 1812 Sir Isaac Brock Way St. Catharines, ON L2S 3A1 Canada +1 905-688-5550 X, formerly Twitter We acknowledge the land on which Brock University was built is the traditional territory of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum agreement. Today this gathering place is home to many First Nations, Metis, and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. We use cookies to improve your overall web experience. By using our website you consent to our use of cookies in accordance with our Privacy Policy I agree 120 IMAGES Writing Lessons from my Creative Writing Workshop Writing for Fun? Part 1: Creativity and Academic Writing Readings celebrate 70 years of creative writing at Princeton Creative Writing Seniors Reading: Fiction Writing a Creative Thesis: An Interview with Edric Huang ’18 Creative Writing VIDEO Film and Creative Writing COMMENTS Creative Writing The Program in Creative Writing offers Princeton undergraduates the opportunity to craft original work under the guidance of some of today's most respected practicing writers including Michael Dickman, Katie Farris, Aleksandar Hemon, A.M. Homes, Ilya Kaminsky, Christina Lazaridi, Yiyun Li, Paul Muldoon, and Patricia Smith.. Small workshop courses, averaging eight to ten students, provide ... Creative Writing This is a workshop in the fundamentals of writing plays. Through writing prompts, exercises, study and reflection, students will be guided in the creation of original dramatic material. Attention will be given to character, structure, dramatic action, monologue, dialogue, language. JRN 240 / CWR 240. Creative Writing The Program in Creative Writing, part of the Lewis Center for the Arts, with a minor in creative writing, like our present certificate students, will encounter a rigorous framework of courses. These courses are designed, first and foremost, to teach the students how to read like a writer, thoughtfully, artistically, curiously, with an open mind attuned to the nuances of any human situation. Lewis Center for the Arts Overview. The Lewis Center for the Arts is an academic unit made up of programs in creative writing, dance, theater, music theater and visual arts, as well as the Princeton Atelier. Lewis Center courses are offered with the conviction that art making is an essential tool for examining our histories and our most pressing social challenges ... Lewis Center for the Arts' Program in Creative Writing presents the Students enrolled in fall creative writing courses in the Lewis Center for the Arts' renowned Program in Creative Writing at Princeton University will read from their new works of fiction, poetry, screenwriting, and literary translation on Tuesday, December 7 at 5:00 p.m. in the Chancellor Green Rotunda on the Princeton campus as part of the Program's Althea Ward Clark W'21 Reading ... Creative Writing Policy on Undergraduate Course Assistants; Grading; Grading Policies; Student Support and Wellbeing ... Opportunities for Innovative Teaching; Search. Search. Home; Creative Writing Navigate to. Creative Writing. Minor | Department ... 4th Floor, Morrison Hall Princeton University Princeton, New Jersey 08544 USA. Office Hours: 8:45 a.m. to 5:00 ... PDF Program in Creative Writing Thesis applicants may wish to apply for a CWR course as a fallback. 2. Writing Sample Guidelines. Fiction: 3 stories (approx. 30-35 pages total) Non-Fiction: 3 stories (approx. 30-35 pages total) Poetry: 10-15 pages of poems Screenwriting: 15-30 pages of a short or feature screenplay Translation: 10-15 pages of translations. Creative Writing Creative writing can be any type of written work that is not technical or analytical. The skills you develop through practice and critique of your written work can prepare you for many career paths that require creativity and storytelling. In addition to writers, the literary and publishing industry needs people in business positions, such as ... Writing Lessons from my Creative Writing Workshop This semester, I took my first fiction workshop in Princeton's Creative Writing Program. I had taken two poetry courses in previous semesters and wanted to try something new. (Pro-tip: if you haven't yet taken a CWR course, definitely consider applying for one before graduating). Creative writing is, in many ways, a break from academic writing. creative writing Creative writing is, in many ways, a break from academic writing. It does not center on data, analysis, or argumentation. Instead, workshops focus on developing compelling images, characters, stories. Creative writing also has access to a wider variety of forms than academic writing, which tends to adhere to a narrow set of relatively ... Areas of Study The undergraduate program offers two areas of study. Humanistic studies explore interrelated events, ideas, texts and artifacts of Western and Asian cultures. Journalism examines topics related to writing and the media, from creative nonfiction to relations between the media and society. English Students considering study abroad should consult the director of undergraduate studies at an early stage. In the Department of English, students are trained to read critically and to attend to the imbricated histories of language, literature, culture and power. Students read widely across genres and periods of British, American and Anglophone ... Program in Translation and Intercultural Communication (PTIC) Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 10-15 page sample, with commentary, of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well a... Majors & Minors Majors & Minors. Focused study in a field of interest frames the academic experience at Princeton. Majors (previously called concentrations) are the departmental program of study that leads to a degree, either a Bachelor of Arts (A.B.) or a Bachelor of Science in Engineering (B.S.E.). Minors and certificates can be an excellent way to develop ... Films by 9 Princeton Students Win Awards at 50th Annual New Jersey All nine of the Princeton filmmakers are either current students or recent graduates who have studied in the Program in Visual Arts. Allen Delgado '23, Miriam Beams '24 and Lana Glisic '24, all recent graduates with certificates in the Program in Visual Arts, earned Jury's Citation Awards for their films. Board approves 14 new faculty appointments Kirstin Valdez Quade, in creative writing in the Lewis Center for the Arts, specializes in creative writing. Quade returns to Princeton, where she taught from 2016 to 2023, after teaching at Stanford University for the 2023-24 academic year. Her appointment is effective July 1. Program: Creative Writing Minor Creative Writing Minor. Offered by English. The Creative Writing Minor at UMBC is appropriate for students of any major who are interested in creative writing as a form of expression. Students study the craft of writing across genres, including fiction, creative nonfiction, and poetry. They learn to read critically, produce and revise their own ... Medvedkovo Map Medvedkovo is a Moscow Metro station in Severnoye Medvedkovo District, North-Eastern Administrative Okrug, Moscow. Mapcarta, the open map. Western Colorado University Graduate Program in Creative Writing Western Colorado University's Graduate Program in Creative Writing (GPCW) is excited to announce the hiring of veteran screenwriter James Napoli as the program's new Screenwriting Director.. Napoli is a filmmaker, performer, and screenwriting educator who earned his MFA in Film from the London Film School and taught screenwriting at National University in Los Angeles and Columbia College ... Program: Creative Writing, BA A. Creative Writing Courses - Choose Four (12 credits) All Creative Writing courses except 20500, 31600, and 31700 may be repeated once by Creative Writing majors for credit. (The 40000 and 50000 level courses should be taken in order in any given genre; exceptions are granted by the permission of instructor.) 635th Anti-Aircraft Missile Regiment 635th Anti-Aircraft Missile Regiment. 635-й зенитно-ракетный полк. Military Unit: 86646. Activated 1953 in Stepanshchino, Moscow Oblast - initially as the 1945th Anti-Aircraft Artillery Regiment for Special Use and from 1955 as the 635th Anti-Aircraft Missile Regiment for Special Use. 1953 to 1984 equipped with 60 S-25 (SA-1 ... The Unique Burial of a Child of Early Scythian Time at the Cemetery of Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather ... Elektrostal, Moscow Oblast, Russia Elektrostal Geography. Geographic Information regarding City of Elektrostal. Elektrostal Geographical coordinates. Latitude: 55.8, Longitude: 38.45. 55° 48′ 0″ North, 38° 27′ 0″ East. Elektrostal Area. 4,951 hectares. 49.51 km² (19.12 sq mi) Elektrostal Altitude. 2023-2024 Undergraduate Prizes Announced Miriam Dieckmann. Categories: English Undergraduate Students. Previous. The Undergraduate Program Committee is delighted to announce the winners and runners-up for our 2023-2024 Departmental Prizes. Congratulations to all! The First-Year English Essay Prize Audrey Gignac, "The Inevitability of Aging: Enjambment in "Sending My Mother Home ... assignment essay homework paper phd report resume review speech thesis