Columbia university creative writing

Ration undergraduatecreative writing study creative writing at columbia university's school of the arts, in new york city, is to join a distinguished group of writers who arrived at a prestigious university in the nation's literary capital to explore the deep artistic power of language. Federico garcia lorca wrote poet in new york while he was a student at columbia. Carson mccullers worked odd jobs in the city to pay for her columbia writing courses. Eudora welty, jack kerouac, langston hughes, allen ginsberg, paul auster: these reknowned writers and many others have left a legacy of originality and brilliance that charges the atmosphere at columbia and lends genuine excitement to the prospect of literary creation on york city is as vibrant as ever, home to writers from all over the world, and columbia's literary legacy continues unabated. Home now to a top-ranked graduate mfa program in creative writing, an undergraduate program that allows students to pursue their craft under the diligent supervision of a world-class faculty, the columbia literary experience includes rigorous writing workshops at all levels in fiction, literary nonfiction, poetry, dramatic writing, and screenwriting, and seminars designed exclusively for creative writing t writers not only have access to these provocative and rigorous courses, but they also can partake in the larger offerings of columbia's thriving school of the arts: the readings, lectures, performances, and plays that bring together the world's most gifted artists and writers, who come to columbia to test their vision and explore the enormous power of literary e to the creative writing program at columbia university school of the , mfa writing program, columbia university school of the or of undergraduate creative the undergraduate creative writing program in the school of the arts combines intensive writing workshops with seminars that study literature from a writer’s perspective. While students develop and hone their literary technique in workshops, the creative writing seminars (which explore literary technique as well as history) broaden their sense of possibility by exposing them to the various ways, historically, that language has been used to make art. Students will determine, in consultation with their faculty advisors, the related courses that will best inform their creative writing workshop is the core element in the practice of creative writing, and it should be a selective and highly rigorous course. Workshop critiques (which include a detailed written report, as well as thorough line-edits) assess the mechanics and merits of the piece of writing, while individual conferences with the professor distill the various critiques into a direct plan of action to improve the work. This dynamic is meant to continually assist the student writer toward new levels of creative creative writing seminars are modeled on the courses offered by the graduate writing division of the school of the arts, and provide the intellectual ballast that informs and deepens the work of the creative writing student. Students in the creative writing seminars read a book each week and engage in round-table discussions about the artistic attributes of the texts, in order to better understand how literature might be made. By engaging in a deep analysis of outstanding and diverse works of literature, the creative writer can build the resources necessary to produce his or her own accomplished creative addition to this core curriculum, we offer workshops in dramatic writing and screenwriting, as well as a seminar in the art of director of undergraduate creative writing as well as the full time professors are designated undergraduate advisors. No more than two courses taken elsewhere may be applied to the are expected regularly to fill out the creative writing major worksheet, to be reviewed by the director of undergraduate studies (or advisor) and submitted, with any notes from director, to the undergraduate coordinator, dorla mcintosh, in the creative writing program office, 609 kent mfa program in creative ve writing at studies (for screenwriting courses). Writing initiative at columbia application ration application major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related about the undergraduate creative writing official undergraduate literary magazine of columbia university's undergraduate creative writing columbia & porary ture core for the core , concentrations, and programs of ments, institutes and ic advising raduate ic honors, awards, and es and ic planning and raduate student ting the / columbia college bulletin / departments, programs, and courses / creative administration and faculty of columbia ic ments, programs, and the course n-​american history and uia, interdepartmental seminars, and professional school ative literature and and theatre and environmental asian languages and y, evolution, and environmental h and comparative ity and race and media and romance y and philosophy of ge resource american and caribbean american and iberian al and renaissance eastern, south asian, and african al education and intercollegiate nable 's and gender ic honors, prizes, and rds and ia university , expenses, and financial raduate creative writing program office: 609 kent; or of undergraduate studies: prof. Alan ziegler, fiction, 415 dodge; 212-854-4391; az8@ creative writing program in the school of the arts combines intensive writing workshops with seminars that study literature from a writer's perspective.

Creative writing columbia

Related courses are drawn from departments such as english, comparative literature and society, philosophy, history, and anthropology, among ea "dottie" te faculty in creative major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related op curriculum (15 points). Workshop critiques (which include detailed written reports and thorough line-edits) assess the mechanics and merits of the writing pieces. Student writers develop by practicing the craft under the diligent critical attention of their peers and instructor, which guides them toward new levels of creative ve writing majors select 15 points within the division in the following courses. For instance, a fiction writer might take four fiction workshops and one poetry ed for students who have little or no previous experience writing literary texts in a particular  un1100beginning fiction  un1200beginning nonfiction  un1300beginning poetry ediate sion required. Course may be repeated in fulfillment of the  un3100advanced fiction  un3200advanced nonfiction  un3300advanced poetry creative writing s who are creative writing majors are given priority. By closely analyzing diverse works of literature and participating in roundtable discussions, writers build the resources necessary to produce their own accomplished creative ve writing majors select 12 points within the division. Extensive readings are required, along with creative  w3296fiction seminar: how to build a  w3520fiction seminar: the here &  w3290fiction seminar first novels: how they  w3294fiction seminar: the craft of writing  w3680nonfiction seminar: the literary  w3323nonfiction seminar: learning to see: writing the  w3325nonfiction seminar: truths & facts: creative license in  w3353poetry seminar: traditions in  w3370poetry seminar: the crisis of the  w3365poetry seminar: 21st century american poetry and its  w3367poetry seminar - witness, record, document: poetry &  w3386cross genre seminar: imagining  un3016cross genre seminar:  w3530cross-genre seminar: process writing & writing d courses (9 points). From various departments, these courses provide concentrated intellectual and creative stimulation, as well as exposure to ideas that enrich students' artistic instincts. Students should consult with faculty advisers to determine the related courses that best inform their creative  un1001 beginning fiction workshop. Department approval not beginning workshop in fiction is designed for students with little or no experience writing literary texts in fiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually produce their own writing for the critical analysis of the class. Students will begin to develop the critical skills that will allow them to read like writers and understand, on a technical level, how accomplished creative writing is produced. Department approval not beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class.

Department approval not beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. 3 ediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. 3 intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling  2017: writ  un2200 intermediate nonfiction workshop. 3 ediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. Department approval not advantage of writing poetry within a rich and crowded literary tradition is that there are many poetic tools available out there, stranded where their last practitioners dropped them, some of them perhaps clichéd and overused, yet others all but forgotten or ignored. As background, students will read prose works (epistolary, writing, journals and diaries, classic essays as well as prose poetry), which may contextualize women's desire and its reception in public and private space: the religious mysticism of sor juana inés de la cruz, lady mary wortley montagu, dorothy wordsworth's journals, emily dickinson's letters, and virginia woolf's criticism and novels. 3 ng on the work of the intermediate workshop, advanced workshops are reserved for the most accomplished creative writing students. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. As readers and practitioners of translation, we will train our ears to detect the visibility of invisibility of the translator's craft; through short writing experiments, we will discover how to identify and capture the nuances that traverse literary styles, historical periods and cultures.

Each week you will write a short piece (1-3 pages) that engages your walks while responding to close readings of the assigned  2017: writ  un3044 imaginative writing. 3 uisites: suggested preparation: structure and style i and ts should, if possible, submit a writing sample (5-10 pages of poetry or fiction) to the instructor before the first class  w3044 imaginative writing. 3 uisites: suggested preparation: structure and style i and ts should, if possible, submit a writing sample (5-10 pages of poetry or fiction) to the instructor before the first class  un3100 advanced fiction workshop. Students will write two creative-writing assignments and give one in-class  un3111 fiction seminar: exercises in style. Our goal won't be to categorize and quantify hardships, but to appreciate some great--though overlooked--writing. Over the course of the semester, we will use these texts as a springboard for writing original  2017: writ  w3115 fiction seminar: make it strange. Students will have four creative and interrelated writing assignments, each one modeling techniques discussed in the preceding  w3116 fiction seminar: story collection as art form. Short scene-based writing assignments will challenge student writers to both mine their own memories for material and imagine voices/experiences far from their  un3123 an earnest look at irony. 3 poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. In this course, students will map the terrain of the lyric essay, work in which writers revise nonfiction traditions such as: coherent narrative or rhetorical arcs; an identifiable, transparent, or stable narrator; and the familiar categories of memoir, personal essay, travel writing, and argument. They can expect to read essays selected from the next american essay edited by john d'agata and in short: a collection of brief creative nonfiction edited by judith kitchen and mary paumier jones, as well as essays by paul metcalf, david foster wallace, sherman alexie, michael martone, and sei shonagon. They will also complete writing exercises and their own lyric essay(s), one of which we will discuss as a class. Their final project will be a collection of their creative work accompanied by an essay discussing their  w3212 nonfiction seminar: literature without writing. Known loosely as "science writing" this tradition can be traced through texts in myriad and overlapping genres, including poetry, explorer's notebooks, essays, memoirs, art books, and science journalism.

Should an overreliance on plot deem a work to be classified as "genre writing" rather than a work of literature? In-class discussions and writing assignments will focus on the strategies these different novels and stories deploy as a way to understand structure, sustain dramatic irony, and make use of dramatic tension. Forster, elizabeth bowen, milan kundera, and charles baxter, among  w3294 fiction seminar: the craft of writing dialogue. We'll read essays by masters that explain techniques for writing great dialogue, and we'll practice writing different styles of dialogue ourselves. Coursework will consist of reading, in-class exercises, and two short creative  w3296 fiction seminar: how to build a person. This class will examine characters in all sorts of writing, historical and contemporary, with an eye toward understanding just how characters are created in fiction, and how they come to seem real to us. We'll read stories and novels; we may also look at essays and biographical writing to analyze where the traces of personhood reside. We'll also explore the way in which these same techniques of writing allow us to personify entities that lack traditional personhood, such as animals, computers, and other nonhuman characters. Weekly critical and creative exercises will intersect with and expand on the readings and  un3300 advanced poetry workshop. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling  w3303 fiction seminar: the long and short of it. Students will write two creative-writing assignments and give one in-class  w3304 fiction seminar: exercises in style. Over the course of the semester, we will use these texts as a springboard for writing original  w3308 cross genre seminar: short prose forms. The idea of the class borrows from the world's current trash predicament:  how to cut our waste; re-use creatively what we have already produced; make something new and useful of our  un3313 poetry seminar: the crisis of the i. Through a close analysis of poems, we'll examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various formal traditions.

Each week, we'll study interesting examples of metrical writing, and i'll ask you to write in reponse to those examples. What are the differences between inspiration and appropriation and how do we negotiate them in our own writing? Who are the students' literary foremothers and patron saints and how do they sustain us throughout a lifetime of creative practice? The writers we will be reading play with genre, style, form, and voice in innovative ways, like the art and artists they are writing to, occasionally using images in their texts or turning their own books and essays into art objects and playful experiments. You will write midterm and final critical responses, as well as submit creative texts every week that respond to the reading, culminating in a final literary work that will be an extension of one of your shorter imitative  w3323 nonfiction seminar: learning to see: writing the visual. You will write midterm and final critical responses, as well as submit creative texts every week that respond to the reading, culminating in a final literary work that will be an extension of one of your shorter imitative  w3325 nonfiction seminar: truths & facts: creative license in nonfiction. Known loosely as "science writing" this tradition can be traced through texts in myriad and overlapping genres, including poetry, explorer's notebook, essays, memoirs, art books, and science journalism. Students will write two short papers and have the opportunity to do some science writing of their  w3330 nonfiction seminar: hybrid nonfiction forms. Their final project will be a collection of their creative work accompanied by an essay discussing their  w3336 translation seminar. Students will have four creative and interrelated writing assignments, each one modeling techniques discussed in the preceding  w3351 poetry seminar: approaches to poetry. Through a close analysis of poems, we'll examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various  formal traditions. Each week, we'll study interesting examples of metrical writing, and i'll ask you to write in response to those examples. In studying how these writers complicate traditional notions of what poetry should/shouldn't do, both in terms of content and of form, students will investigate their own writing practices, fortify their poetic voices, and create works that engage directly and confidently with the world in which they are  w3367 poetry seminar - witness, record, document: poetry & testimony. Through a wide variety of readings and writing exercises, we will examine and explore approaches to language, ways of telling a story (linear and nonlinear), and how pieces are constructed.

This work may be composed of independent scenes or of sequential scenes building to a short  w3375 playwriting. Department approval not iting is taught as a workshop and is designed for students who have an interest in dialogue, the construction of the dramatic scene, and playwriting as a literary and performance art form. Attention is given to the ways in which playwriting techniques might be applied to work in other genres. This work can be composed of several independent scenes or of sequential scenes that build to a one-act  w3377 traditions in creative writing. To what degree should we study the accomplished writing of the past in order to produce writing for today and the future? This craft seminar—a course in the techniques of creative writing—will explore the fundamentals of fiction, poetry, literary nonfiction, and dramatic writing, as well as hybrid forms that are harder to name. Students will learn to read as writers; they will study literary forms and styles, they will become familiar with accomplished work from a range of genres, and they will compose creative work of their  w3380 translation seminar: the european fairy tale. Throughout the semester, we'll be talking about issues of translation in these tales and comparing them to the fairy-tale-inspired writing of our own age, including work by angela carter, robert coover, donald barthelme,  kelly link, lyudmila petrushevskaya, yoko tawada, george saunders and others. Sebald; criers and kibbitzers, kibbitzers and criers by stanley elkin; the actual adventures of michael missing by michael hickins; and a personal anthology by jorge luis  w3384 nonfiction seminar: literature without writing. Open to juniors & can one imagine a city in a piece of writing with such vividness that the place springs to life as a mythical metropolis? We'll take this city as a model for writing about place, exploring the ways in which descriptions function in narrative to create a backdrop that fuels a story and provides atmospheric support for its unfolding. Instead, the aim of this class will be to analyze the formal elements of fiction with an eye towards refining our own prose styles and towards saying more clearly how it happened that a given text did or did not move  w3530 cross-genre seminar: process writing & writing process. Departmental approval not act of writing is often mythologized, romanticized, or dismissed as peripheral to the text itself. Readings will include writings by visual artists who produce documents of performances, surrealists who use "automatic" methods to reveal the unconscious, poets who seek to capture states of enlightenment or intoxication, and novelists who employ extreme conditions to achieve unexpected results.

The idea of the class borrows from the world's current trash predicament:  how to cut our waste; re-use creatively what we have already produced; make something new and useful of our  w3697 senior fiction workshop. Short scene-based writing assignments will challenge student writers to both mine their own memories for material and imagine voices/experiences far from their  w3898 senior poetry workshop. How has diva writing shaped and redrawn the formal contours of the lyric essay, sonnet, ode, elegy, autobiography, or theoretical discourses about race, gender, and sexuality? What can the writing and performances by and about divas (and diva worship) teach us about our approaches to voice, style, genre, and form in our own writing practices? How have literary ideas of genre and point of view and voice as well as cultural ideas of gender and nation and citizenship been shaped and challenged by writing about war, violence, and/or trauma? By carefully reading these classic works of (mostly) nineteenth century wonder and horror, we will study the ways in which these effects are achieved and the ways in which writing about the supernatural serves the writers’ political and psychological goals. To acquaint students with the general history of wonder/horror writing in the german romantic and gothic traditions; 2. How can we use visual art towards our own creative process in the future, either by using visual art in writing poetry or by incorporating illustration in the presentation of our written work? A mix of texts -- classic and contemporary poetry, illuminated manuscripts, children's picturebooks, literature that we might consider visually driven, and related scholarship form the basis for our investigations, discussions, and creative work. We will spend much of the class discussing texts and issues surrounding the course's theme, completing in-class writing exercises, and the other parts giving each other feedback on creative work. By the completion of the course, students will have turned in six reading responses, several independent writing projects, as well as a short critical paper and a short creative ia university in the city of new york. 2017-18 columbia of this page including s & te courses & raduate ation ia artist/teachers (ca/t). Columbia university mfa writing program is highly regarded for its rigorous approach to literary instruction and for its faculty of acclaimed writers and editors who are devoted and dedicated teachers. Students are encouraged to make the most of their own artistic instincts and to realize as fully as possible, beyond any perceived limitations, their potential as the core of the curriculum is the writing workshop.

The second-year thesis workshops (6 to 9 students) are dedicated to shaping each student’s work into book columbia mfa is a two-year program requiring 60 credits of coursework to complete the degree and can take up to three years to complete the thesis. Students concentrate in fiction, poetry, or creative nonfiction, and also have the option of pursuing a joint course of study in writing and literary translation. Most mfa programs require 48 credits or as few as 36 credits, but the columbia writing program considers the study of literature from the practitioner's point of view—reading as a writer—essential to a writer's education. New seminars, lectures and master classes are created every tion dialogues: michael november 1, 2017michael kimmelman is the architecture critic for the new york times and has focused on issues of public housing, public space, infrastructure, urbanism, environmentalism and community november 20, 2017orhan pamuk reads from his new novel, the red-haired woman, followed by a conversation with bruce robbins, english and comparative day, october 25, 2017 at 06:30 pm - 08:30 pm et  sign ad the writing d in 1977 by the students of the graduate writing program at columbia university school of the columbia journal ritvo memorial more information, please reach out to: givetosoa@ or 212-854-4849. Koh ’13 on a path to reckon with her korean heritage and family, and, ever since, she has been documenting korean women’s history through her unique magdalena zyzak '11 probes graduate writing programs in new ena zyzak ’11 co-directed a new movie that deals with a familiar topic – creative writing feature film, maya dardel, currently playing at cinema village in the east village, is zyzak’s directorial debut with zachary s will brewer '14 confronts opioid crisis in poems featured on pbs william brewer ’14, the opioid crisis is and his latest collection of poetry were featured on pbs newshour monday night as part of the public broadcast channel’s series, “america addicted. Adjunct pens new york times op-ed about college shapiro, an adjunct associate professor in writing, penned a new york times op-ed about teaching in columbia's mfa program — and the things she wished she'd learned during her own college g roundup: week of oct. The past couple of weeks, writing program students, alumni, and faculty members have been busy publishing new work, winning fellowships, and more. Read more in our biweekly roundup of news about columbia or's degree holders or t columbia university raduates/graduates at another ia university ng english as a second uction rise risk ation and knowledge ation and conflict gic nability nability logy icates and ial science al issues in international y, evolution, and environmental rise risk tative studies for nability nable water nations te foundations ured y, evolution, and environmental tative studies for ation, archive management, and knowledge strategy graduate or's degree raduates/graduates at another and spring orative knowledge killer risks of capital ss ia summer te visiting raduate visiting y, evolution, and environmental school visiting & ational school summer programs school summer programs ng high school an language ive english -time english ic writing for international ing and speaking for international ed academic ed listening & speaking for graduate h for professional purposes:h for professional purposes:strategic h for professional purposes: h for professional purposes: h for social ational teaching fellows orative knowledge killer risks of human capital industry rs and executive gic communication: international ial planning teaching ng and lifelong l auditing and lifelong learners ry and veterans ational of professional studies. 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S degree holders or t columbia university raduates/graduates at another ia university ng english as a second ccalaureate studies. Return to postbaccalaureate studies courses creative writing department offers writing workshops in fiction writing, poetry, and nonfiction writing. Courses are also offered in film writing, structure and style, translation, and the short questions about specific courses, contact the department:Department office: 612 gprogram@ hours: monday–thursday, 10:00 a. 5:00 : /cu/ration procedures and course creative writing classes have limited enrollments and require instructor or departmental approval prior to ts should visit the writing department's web site (click on registration procedures) for details and course information displayed on this page relies on an external system and may be incomplete. Please visit writing on the directory of classes for complete course finding your course in the directory of classes, click on the section number to open an expanded view.

3 ediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling  2017: writ un2110. 3 intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. 3 ediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Over the course of the semester, we will use these texts as a springboard for writing original  2017: writ un3114. 3 poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. 3 ng on the work of the intermediate workshop, advanced workshops are reserved for the most accomplished creative writing students. Short scene-based writing assignments will challenge student writers to both mine their own memories for material and imagine voices/experiences far from their  w3211 nonfiction seminar: the lyric essay. Their final project will be a collection of their creative work accompanied by an essay discussing their  w3212 nonfiction seminar: literature without writing. Weekly critical and creative exercises will intersect with and expand on the readings and  w3302 fiction seminar: approaches to the short story. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling  w3304 fiction seminar: exercises in style. The idea of the class borrows from the world's current trash predicament:  how to cut our waste; re-use creatively what we have already produced; make something new and useful of our  w3323 nonfiction seminar: learning to see: writing the visual. Sebald; criers and kibbitzers, kibbitzers and criers by stanley elkin; the actual adventures of michael missing by michael hickins; and a personal anthology by jorge luis  w3384 nonfiction seminar: literature without writing. By the completion of the course, students will have turned in six reading responses, several independent writing projects, as well as a short critical paper and a short creative university reserves the right to withdraw or modify the courses of instruction or to change the instructors as may become ics home / academics / academic coursework / majors, concentrations and other programs of , concentrations and other programs of n-american studiesamerican studiesancient studiesanthropologyapplied mathematicsarchaeologyarchitectureart historyart history and visual artsastronomyastrophysicsbiologybiochemistrybiophysicsbusiness management (special concentration)chemical physicschemistryclassicscolloquia, interdepartmental seminars, and professional school offeringscomparative literature and societycomputer sciencecomputer science-mathematicscreative writingdancedata sciencedrama and theatre artsearth scienceeast asian studieseconomicseconomics-mathematicseconomics-philosophyeconomics-political scienceeconomics-statisticseducation (special concentration)englishenvironmental biologyenvironmental chemistryenvironmental scienceethnicity and race studiesevolutionary biology of the human speciesfilm and media studiesfinancial economicsfrenchfrench and francophone studiesgerman literature and cultural historyhellenic studies (modern greek) (special concentration)hispanic studieshistoryhistory and philosophy of science (selected coursework)history and theory of architecturehuman rightsinformation scienceitalianjazz studies (special concentration)jewish studies (special concentration)language resource centerlatin american and caribbean studieslinguisticsmathematicsmathematics-statisticsmedieval and renaissance studies (special concentration)middle eastern, south asian, and african studiesmusicneuroscience and behaviorphilosophyphysical educationphysicspolitical sciencepolitical science-statisticsportuguese studiespsychologyregional studiesreligionrussian language and culturerussian literaturerussian literature and cultureslavic (non-russian) language and cultureslavic studiessociologystatisticssustainable developmenturban studiesvisual artswomen's and gender ic courseworkthe core , concentrations and other programs of ments, programs and ic advising and ic ic honors, awards, and ic planning and administration.