The genre of creative nonfiction complicates the boundaries of what we normally think of as imaginative writing (e.g., fantasy novels, contemporary short fiction, romance, most “Literature”) and writing about real people, places, things, and events (e.g., journalism/nonfiction or documentary writing).
What is the “American dream,” exactly? Is it owning your own home? Having a decent job? Choosing your own destiny? Providing a better life for your children? Ensuring that everyone has an equal opportunity to succeed? Or is the American dream merely the nostalgic residue of an Empire in decline?
"To talk of New Media in the early 21st century seems odd: exhausted and exhausting. Either it seems tinged with that hopelessly naïve utopianism and dystopianism that dominated the end of the 20th century . . . or it just seems hopeless. New media is everywhere and everything; it changes more quickly than we can think. What more can we possibly say about it?” --Wendy Hui Kyong Chun, *New Media/Old Media* (2016)
Technical Editing is perhaps the most practical course I teach on a regular basis at IU Kokomo. Week by week, students learn how to edit technical documents, from proofreading for errors at the surface level to ensuring that documents contain appropriate content, organization, and visuals for their various readers.
ENG-L 202 introduces undergraduates from a variety of majors to the major theoretical movements, thinkers, and concepts of 20th and early-21st century critical and literary theory, with a special focus on how concepts like authorship and originality, textuality/reading, and even identity circulate throughout the diverse tools and practices of literary interpretation.
The contemporary adage that we exist in a fast-moving, increasingly connected (and “connectable”) world is a commonplace of mainstream media. But what precisely are we referring to when we discuss the massive changes wrought by the internet, mobile devices, networks, and by digital culture generally?