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Serena E. Suson Serena E. Suson

A Digital Portfolio

  • About Me
    • Resume
  • Creative Works
    • English
      • Prose
        • My Lady, Life
        • Masquerade
        • A Return on Words
      • Poetry
        • Cause Not to Barbary
        • The Crucifixion
        • Envy and the Apple
        • Honey
        • Like Real People Do
        • The Myth of Tiresias
        • A Simple Machine
        • This Love Thing
    • Spanish
      • Cuentos
        • Una batalla de puros
        • De nuevo
        • La chica en la cueva
        • La gallina que quería ser un cisne
      • Poesía
        • Nada más amante
    • Korean
      • 순간
      • 내게 편지
  • Dartmouth Essays
    • Winter 2022
      • HUM 2: The Modern Labyrinth
        • The Fantasy of José Clemente Orozco’s Epic
    • Spring 2022
      • ENGL 34 – Modern American Drama
        • Rediscovery in Long Day’s Journey into Night and After the Fall
    • Winter 2023
      • GRK 28: Philosophy
        • Reflection on Lissarrague and Anne Carson (1/21/23)
        • Diotima’s Speech (2/19/23)
        • Reflection on Halperin’s “Why is Diotima a Woman?” (2/25/23)
      • ENGL 62.12: Jane Austen
        • Money and Morality in Pride and Prejudice
    • Spring 2024
      • ENGL 17: John Milton
        • An Inspection of the Ode: A Metaphysical Analysis of Marvell’s “Horatian Ode”
        • Two as One: The Mission of Mankind in Paradise Lost
      • ENGL 74.06: Frantz Fanon: Colonial War and Mental Disorders
        • Consciousness: Fanon’s Origins for the Postcolonial Self
    • Winter 2025
      • GRK 30.10: Alcibiades
        • Gods among Men: The Effect of Divinity upon the Dialectic in Plato’s Alcibiades
    • Spring 2025
      • THEA 17
        • Digital Theatremaker Profile: Eugene O’Neill (1888–1953)
        • Digital Theatermaker Profile #2: Derek Walcott (1930–2017)
  • Spare Rib
    • Anna Christie and the Feminist Horror of Fractured Desire
    • The Feminist Monolith: On Purpose and Identity
    • Mimesis: Memes, Fanon, and the Revolution of Optimism
  • Open Door Legal
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  • A Return on Words
  • A Simple Machine
  • About Me
  • An Inspection of the Ode: A Metaphysical Analysis of Marvell’s “Horatian Ode”
  • Cause Not to Barbary
  • Consciousness: Fanon’s Origins for the Postcolonial Self
  • Creative Works
  • Cuentos
  • Dartmouth Essays
  • De nuevo
  • Digital Theatermaker Profile #2: Derek Walcott (1930–2017)
  • Digital Theatermaker Profile: Eugene O’Neill (1888–1953)
  • Diotima’s Speech (2/19/23)
  • Directed Self-Placement Essay
  • ENGL 17: John Milton
  • ENGL 34 – Modern American Drama
  • ENGL 62.12: Jane Austen
  • ENGL 62.12: Jane Austen
  • ENGL 74.06: Frantz Fanon: Colonial War and Mental Disorders
  • English
  • Envy and the Apple
  • Gods among Men: The Effect of Divinity upon the Dialectic in Plato’s Alcibiades
  • GRK 28: Philosophy
  • GRK 30.10: Alcibiades
  • Honey
  • HUM 2: The Modern Labyrinth
  • Korean
  • La chica en la cueva
  • La gallina que quería ser un cisne
  • Like Real People Do
  • Masquerade
  • Mimesis: Memes, Fanon, and the Revolution of Optimism
  • Money and Morality in Pride and Prejudice
  • My Lady, Life
  • Nada más amante
  • Open Door Legal
  • Poesía
  • Poetry
  • Prose
  • Rediscovery in Long Day’s Journey into Night and After the Fall
  • Reflection on Halperin’s “Why is Diotima a Woman?”
  • Reflection on Lissarrague and Anne Carson (1/21/23)
  • Resume
  • Spare Rib
  • Speech of Eryximachus/Aristophanes Takeaway (2/3/23)
  • Spring 2022
  • Spring 2024
  • Spring 2025
  • The Crucifixion
  • The Fantasy of José Clemente Orozco’s Epic
  • The Myth of Tiresias
  • THEA 17
  • This Love Thing
  • Two as One: The Mission of Mankind in Paradise Lost
  • Una batalla de puros
  • Winter 2022
  • Winter 2023
  • Winter 2025
  • 내게 편지
  • 순간
  • Anna Christie and the Feminist Horror of Fractured Desire
  • The Feminist Monolith: On Purpose and Identity
  • Winter 2022
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