Undergraduate Course Descriptions | Fall 2022


* (in orange) indicates courses that count towards the Pre-1700 requirement for the English major.
** (in blue) indicates courses that count towards the 1700-1900 requirement for the English major.

Creative Writing

ENCW 2300 - Poetry Writing

An introductory course in poetry writing, with a primary focus on creating new poems in a workshop setting. Students will study basic poetic terms and techniques and revise and arrange a series of poems for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements. 

001 - MWF 09:00AM-09:50AM (Bryan 310)
002 - MWF 10:00AM-10:50AM (Bryan 310)
003 - MWF 11:00AM-11:50AM (New Cabell 594)
004 - MWF 12:00PM-12:50PM (Bryan 235)
005 - TR 05:00PM-06:15PM (New Cabell 042)
006 - MWF 01:00PM-01:50PM (Bryan 310)
007 - TR 05:00PM-06:15PM (New Cabell 066)
008 - MWF 02:00PM-02:50PM (Bryan 332)

ENCW 2560 - Literary Science Fiction

MWF 01:00PM-01:50PM (Bryan 328)
Jeb Livingood
This class introduces you to the techniques and craft involved in fiction writing, but with a focus on the subgenre of science fiction. We’ll examine whether the labels “literary” and “science fiction” are mutually exclusive, or if they can overlap. By the end of the class, you will produce a short story or chapter of a science fiction novel and revise the writing extensively. You will also read a good deal of fiction, ideally becoming a more insightful consumer of stories and other narratives, and more aware of the various strategies and craft techniques authors use to create, as best they can, a piece of art—that is, a literary object that helps us understand what it is to be human—and also science fiction, an object that explores the tensions of our present time and our possible futures.

ENCW 2600 - Fiction Writing

An introductory course in fiction writing, with a primary focus on creating short stories in a workshop setting. Students will study basic narrative terms and techniques and revise several short stories for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements.

001 - MWF 09:00AM-09:50AM (Bryan 235)
002 - MWF 10:00AM-10:50AM (Bryan 312)
003 - MWF 11:00AM-11:50AM (The Rotunda 150)
004 - MWF 12:00PM-12:50PM (Bryan 328)
005 - TR 05:00PM-06:15PM (The Rotunda 152)
007 - TR 05:00PM-06:15PM (Bryan 233)

ENCW 3310-001 - Intermediate Poetry Writing I

W 02:00PM-04:30PM (Dawson's Row 105)
Restricted to Instructor Permission
Debra Nystrom

A weekly 2.5-hour once-weekly class for students advanced beyond the level of ENCW 2300. Emphasis is on workshop of students' own poems, with focused writing exercises and written responses to relevant outside reading, as well as class discussions on issues of contemporary poetry. Focus on revision and final poetry portfolio required.

Instructor Permission is required for enrollment in this class. Please apply for instructor permission through SIS. APPLICATION REQUIREMENTS: writing sample of 4-5 poems with a cover sheet including name, year, email address, major, prior workshop experience, and other workshops to which you are submitting. Submit your application IN A SINGLE DOCUMENT to Prof. Nystrom at dln8u@virginia.edu. Applications will be considered on a rolling basis as soon as registration opens. For full consideration, email your application as soon as possible. The final deadline will be noon, August 5. Classes do sometimes fill before the final submission deadline, but an effort will be made to hold space for transfer and study abroad students. The instructor will let all applicants know by late August.

ENCW 3350-001 - Intermediate Nonfiction: Voyages of Body and Mind

W 02:00PM-04:30PM (Bryan 233)
Restricted to Instructor Permission.
Jane Alison

A class for ambitious students who want to study ways of crafting literary nonfiction that focuses upon journeys, both internal and external. We’ll examine how other writers have taken their senses, scientific minds, beliefs, imaginations, and literary bloodlines upon ventures into unknown parts, including deep inside themselves (and their pasts) or even others’ bodies. We’ll study aspects of converting observation, speculative thinking, fact, and not-quite-fact into living narrative—how to contract and expand time, organize structure, shift among inner and outer worlds, create spaces, control questions and tensions—so that you can develop skills and craft your own exploratory pieces of lyric prose.

Unless you are in the APLP, please send a message saying who you are and why you're interested in this class, along with a ten-page (max) writing sample, to me at jas2ad@virginia.edu. I'll let people know by mid-summer.

ENCW 3610-001 - Intermediate Fiction Writing

R 04:00PM-06:30PM (New Cabell 056)
Restricted to Instructor Permission.
Micheline Marcom

ENCW 3610-002 - Intermediate Fiction Writing

T 11:00AM-01:30PM (Dawson's Row 105)
Restricted to Instructor Permission.
Anna Beecher

ENCW 3610-003 - Intermediate Fiction Writing

R 02:00PM-04:30PM (Bryan 233)
Restricted to Instructor Permission.
Anna Beecher

ENCW 4550-001 - Topics in Literary Prose: Around the World in 40 Stories

T 02:00PM-04:30PM (Bryan 233)
Restricted to Instructor Permission.
Rabih Alameddine

In this course, we will read and study the short story.  

From Chekhov to Cheever, from Borges to wa Thiong'o, Munro to Murakami, Narayan to Baldwin, we will look at short stories from around the world, classic and contemporary, attempting to understand the various ways these tales work.

ENCW 4810-001 - Advanced Fiction Writing I

W 02:00PM-04:30PM (New Cabell 323)
Restricted to Instructor Permission.
Rabih Alameddine

ENCW 4820-001 - Poetry Program Poetics: Cutting Up: Collage, Play, & Resistance

T 02:00PM-04:30PM (Dawson's Row 105)
Restricted to Instructor Permission.
Brian Teare

Collage is a technique that originated in French visual arts around 1910. Collage has its root in coller, “gluing,” but from the start it’s been a practice of first cutting out/decontextualizing an image or phrase and then pasting down/recontextualizing it among other images or phrases. From its radical roots in Dada and Surrealism to today’s postmodern mixologists sampling cannily chosen source texts, poetic collage has always been about cutting up: as much about play as resistance, as much about exploring imaginative possibilities as about critique of the status quo. The readings portion of this course will immerse us in a historical survey of linguistic collage, while the experiential learning portion of this course will allow us to explore collage techniques literally – through in-class exercises with scissors and glue sticks, and by enacting related techniques like exquisite corpse and erasure. Together we’ll explore many iterations of collage over the past century – from Surrealism’s countercultural salvos to Negritude’s decolonial visions to contemporary feminism’s gender interventions – while each of us also develops and articulates our own personal collage poetics.

By permission only. Please contact Professor Teare if you are interested in enrolling in or learning more about this course. bt5ps@virginia.edu

ENCW 4830-001 - Advanced Poetry Writing I

R 02:00PM-04:30PM (Dawson's Row 105)
Restricted to Instructor Permission
Debra Nystrom

This workshop is for students with prior experience in writing and revising poetry, and it welcomes students working in the poetry/prose hybrid space as well. The class will involve discussion of student poems and of assigned reading, with particular attention to issues of craft. Students will be expected to write and revise six to eight poems, to participate in class discussion and offer detailed notes in response to other students’ work, to keep a poetry journal, to attend several poetry readings, to turn in close-reading responses to three assigned readings, and to participate in a group presentation.

Instructor Permission is required for enrollment in this class. Please apply for instructor permission through SIS. APPLICATION REQUIREMENTS: writing sample of 4-5 poems with a cover sheet including name, year, email address, major, prior workshop experience, and other workshops to which you are submitting. Submit your application IN A SINGLE DOCUMENT to Prof. Nystrom at dln8u@virginia.edu. Applications will be considered on a rolling basis as soon as registration opens. For full consideration, email your application as soon as possible. The final deadline will be noon, August 5. Classes do sometimes fill before the final submission deadline, but an effort will be made to hold space for transfer and study abroad students. The instructor will let all applicants know by late August.

English Literature

ENGL 2502-001 - Four Books, Four Centuries, Four Forms

MW 02:00PM-03:15PM (New Cabell 115)
John O'Brien

In this course, we will read four different works produced between 1600 and 2000, each of which is in a radically different form: William Shakespeare’s play King Lear, Jane Austen’s novel Emma, T. S. Eliot’s poem The Waste Land, and Stanley Kubrick’s film 2001: A Space Odyssey. Each of these works is a masterpiece of its kind, an influence to many who followed it, and a work about which many critics have had things to say. They’re all incredibly pleasurable and rewarding as well. We’ll use these masterpieces to explore the kinds of ways that you can approach literary and filmic texts. The course will fulfill the second writing requirement.

ENGL 2506-001 - Introduction to Renaissance Poetry

TR 12:30PM-01:45PM (Astronomy 265)
Rebecca Rush

What is poetry? What sets it apart from other modes of writing, thinking, imagining, feeling? What are the distinctive tools at the poet’s disposal? How do these tools work, and how can we describe their workings? Should poetry be plain or intricate, delightful or didactic, passionate or rational, heavenly or human? In this course, we will explore the many Renaissance responses to these questions by reading a selection of sixteenth- and seventeenth-century verse. We will inspect a range of poetic styles and genres, beginning with sonnets by Philip Sidney, William Shakespeare, John Donne, and Mary Wroth. Other poets will include Ben Jonson, Robert Herrick, John Milton, and Katherine Philips. We will move slowly at first, sometimes reading only one poem per class, and will work together to develop the interpretive skills to unfold a poem. This course also aims to help you sharpen your skills as a writer. The first written assignments will be short, observational readings of poems that you will then turn into structured, argument-based papers. You will have the opportunity to revise one paper based on feedback from your instructor and your classmates.

No prior knowledge of poetry, meter, or rhyme is expected. Lovers and despisers of poetry are equally welcome. The only prerequisite is a willingness to read with attention—and a dictionary.

ENGL 2506-003 - Lyric and Short Forms

MW 02:00PM-03:15PM (Dell 2 100)
Matthew Davis

This course is an introduction to poetry for students who have little or no previous experience reading poetry. We will read poets who wrote accentual-syllabic verse in English in the past 400 years. Some poets who might be studied include Phillip Larkin, Robert Frost, E. A. Robinson, Thomas Hardy, Charlotte Mew, Edna St. Vincent Millay, Emily Dickinson, John Keats, Edmund Waller, Robert Herrick, and John Donne. We will focus on short lyric poems and sonnets. There won’t be many poems on the syllabus that are longer than sixty lines, but every poem will need to be read several times, with very close attention. Students will learn techniques for making sense of poetry and practice “scanning” poems (marking stressed and unstressed syllables) using the For Better for Verse website. They will also comment on poems online using Perusall (software that facilitates “asynchronous social annotation of texts”), write two essays, and memorize a sonnet.

ENGL 2506-004 - Contemporary Sonnet Sequences

MW 02:00PM-03:15PM (Bryan 334)
Hannah Loeb

"Contemporary sonnet sequence” sounds like a contradiction in terms: how can it be linear and multiple if it’s also recursive and singular, and how contemporary can it be if it originated in the 14th century? Let’s find out. It’s a poetic form with a rich history and manifold affordances, engaging discourses of constraint and freedom, affects of submission and rebellion, aesthetics of strain and ease, and diverse theories of the lyric. In this course, students will explore how different modern and contemporary sonneteers have played with the expectations, metaphors, ideologies, and opportunities that this form entails. Readings may include: Natasha Tretheway, Patricia Smith, Kiki Petrosino, Mary Jo Salter, Rita Dove, Tyehimba Jess, Paul Muldoon, Kevin Young, Wanda Coleman, Ted Berrigan, Anne Carson, Terrance Hayes.

ENGL 2506-005 - Poetry of Place & Displacement

MW 05:00PM-06:15PM (Shannon 109)
Jeddie Sophronius

From poems of longing to elegies, the space offered by poetry has been used by writers throughout history to explore heartbreak, loss, and displacement. So what is it that’s so different from poetry that speaks so much to the maladies of the heart? What does it mean to be an alien in one’s own country? What does it mean to wear loneliness as a coat? And above it all, why poetry? In this course, we will ponder these questions. We will explore both the physical and emotional displacement in its many variations through the works of poets who have used the page to navigate through and adapt to the radical changes in their world. 

ENGL 2507-001 - Shakespeare's Sisters

TR 08:00AM-09:15AM (New Cabell 187)
Mary Ruth Robinson

Virginia Woolf famously wrote that any gifted woman writer in the sixteenth century would surely have died mad or alone, unable to ever write a word. But we now know that women in the Renaissance – Shakespeare’s sisters, to borrow from Woolf – did indeed write works of their own. In this course, we will pair several well-known plays by Shakespeare with lesser-known plays by women writers. Reading these texts together will open up broader questions about gender, power, and desire in Renaissance drama. Shakespearean novices and enthusiasts alike are welcome; no prior knowledge is required.

ENGL 2508-001 - Virginia Woolf

MW 02:00PM-03:15PM (New Cabell 183)
Stephen Arata

The broad purposes of this course are to introduce you to ways of understanding texts within the discipline of literary studies and to improve your skills in critical thinking and writing. In addition to fulfilling the Second Writing Requirement, the course can be used complete the prerequisite to the English major. We will spend the semester reading widely in the work of Virginia Woolf, one of the greatest writers in the English language. In addition to three of her novels (Mrs. Dalloway, To the Lighthouse, and Orlando), our reading list will include short fiction and essays as well as excerpts from her letters and journals. In addition to regular brief writing assignments, requirements will include three 5-6 page essays. The course is designed both for those who have read Woolf before and those who will be reading her for the first time.

ENGL 2508-002 - American Environmental Fiction

TR 02:00PM-03:15PM (Bryan 203)
Mary Kuhn

ENGL 2508-003 - Country Houses in the Modern Novel

TR 08:00AM-09:15AM (New Cabell 315)
Zoe Kempf-Harris

Examining the objects, rooms, landscapes, and architecture of the literary estates featured in the works of Henry James, Virginia Woolf, E.M. Forster, Edith Wharton, and others, we will engage with these locales as more than mere settings. Country houses have a rich literary history of reflecting the consciousnesses of their owners and inhabitants, and we will further consider how these houses, estates, and places are used to reveal the social conditions and cultures of their era. Reading and reflecting together, we will discuss how these writers use materiality and place to communicate the aesthetic and other values of their times.

ENGL 2508-004 - Experiments in Narration: Narrative Perspective and the Reading Experience

MWF 12:00PM-12:50PM (New Cabell 389)
Robert Zenz

This class offers a sustained investigation of the complex relationships between readers and narrators.  Throughout the semester, we’ll pair important bits of narrative theory with fiction that showcases the various tools and textual procedures by which an author delineates and focalizes narrative perspective. Topics on the table include the artifice of omniscience, free indirect discourse, the frame-narrative, the unreliable narrator, etc.  By reading and discussing works that foreground both perspective and the limits of perspective, we’ll develop a sense for how narrators mediate the technical distinctions between story, narrative, and discourse while deepening our understanding of why those distinctions matter.

ENGL 2508-005 - American Environmental Fiction

TR 12:30PM-01:45PM (Ridley 127)
Mary Kuhn

ENGL 2527-001 - Text and Performance

MW 02:00PM-03:15PM (Shannon 109)
Katharine Maus

In this course we will read three Shakespeare plays and then see two or three film or live-theater versions of each one, considering various ways the directors and actors interpret the plays for a modern audience. Writing assignments are designed to help seminar participants consolidate the analytical and writing skills they need to succeed in college-level classes in English or other humanities fields. In addition to many short, informal writing assignments there will be two formal papers—one short, one longer.

ENGL 2527-002 - Recasting Shakespeare

MW 06:30PM-07:45PM (Bryan 203)
Lucia Alden

In this course we will explore how Shakespeare remolded his source materials when writing his plays and how his plays were then reworked for succeeding audiences as movie, novel, and and play adaptations. We will think about the evolution of texts and read some adaptation theory as we ask where the line between a production and adaptation should be drawn. Possible works examined include: Othello and Paula Vogel's play Desdemona: a Play About a HandkerchiefTwelfth Night and She's the Man; and Marlowe's Jew of MaltaThe Merchant of Venice, and Howard Jacobson's novel Shylock is My Name. In the course we will ask if Shakespeare's plays are actually timeless and, if so, why do the themes have such staying power? How do they continue to compel audiences four centuries later?

ENGL 2527-003 - Difficult Women in Shakespeare

MW 05:00PM-06:15PM (Bryan 312)
Valerie Voight

This course explores Shakespeare’s work through the lens of some of his most infamous female characters: women who are enterprising, brash, insubordinate, even villainous. In what ways are their transgressions of typical social roles celebrated or condemned in Shakespeare’s plays? We will read a selection of plays including The Merchant of VeniceMacbethKing Lear, and The Winter’s Tale and interrogate Shakespeare’s characterization of women alongside both contemporary and Renaissance ideas about femininity. No prior knowledge of Shakespeare is required for this course.

ENGL 2560-001 - The Novel Now

TR 02:00PM-03:15PM (Shannon 109)
Anastatia Curley

The novel has often been understood as an inherently social genre, a form that both responds to and helps us chart the ways we live among others. What does that look like in the contemporary moment? How do novels written very recently chart what it is to be alive today, and what do they suggest novels can help us see about our world? Do they put forth models of community? Represent social disconnect in new ways? Do they offer models for responding to climate change, global migration crises, the omnipresence of digital media, the COVID-19 pandemic, racial injustice? And if they don’t, then what are novels for? This course will traverse these questions about novel form and contemporary literature while also considering the history of the novel; it will also ask students to practice the habits of literary scholarship, particularly that of close reading.

ENGL 2599-001 - Routes, Writing, Reggae

TR 03:30PM-04:45PM (New Cabell 364)
Njelle Hamilton

Cross-listed with AAS.

When most people think of reggae music, they think of lazing out on a Caribbean beach with a marijuana spliff and nodding to the music of Bob Marley. But what is the history of the music of which Marley is the most visible ambassador? How did the music of a small Caribbean island become a worldwide phenomenon, with the song “One Love” and the album Exodus named among the top songs and albums of the 20th century? This course traces the history of reggae music and its influence on Jamaican literature. Framed by readings on Jamaican history, Marcus Garvey’s teachings, and Rastafari philosophy, at the heart of the course is an intensive study of Marley’s lyrics and the literary devices, musical structures, and social contexts of reggae. Armed with these tools, we will apply the ‘reggae aesthetic’ to Jamaican poetry, fiction and film, including The Harder They Come and the Booker Prize novel, A Brief History of Seven Killings. Assignments such as album reviews, ‘diss’ tracks, and critical essays will allow you to engage topical and controversial issues such as: misogyny and homophobia in reggae and dancehall; the place of religion and spirituality (and yes, marijuana) in reggae; reggae’s critique of oppression and racial injustice; cultural appropriation and the global marketplace; and the connections between reggae, dancehall, hip-hop, EDM, and reggaetón.

ENGL 2599-002 - Painting and Prose

MW 03:30PM-04:45PM (Bryan 328)
Cynthia Wall

Somebody once said, “Ut pictura poesis,” or, “Poetry is a speaking picture, painting a silent poetry.” But what does that mean, exactly, and how does it work? Humans have told stories about famous paintings, and painted famous stories, all in attempt to figure out ourselves and our world. This course explores the many ways that art has imagined literature, and literature art, from Ovid and the Bible, through Shakespeare and Milton, Pope and Blake, Rossetti and Tennyson, the Pre-Raphaelites, and Aestheticism (Oscar Wilde). Requirements: active participation, weekly short commentaries, writing workshops, three short papers (5-7pp), and a final exercise.

ENGL 2599-004 - Latinx Fiction and Film

TR 09:30AM-10:45AM (Brooks 103)
Carmen Lamas

This course explores the diverse and also converging experiences of different Latinx groups in the US. We will read contemporary novels and poetry by Latinx authors from different Latinx groups (Chicano, Puerto Rican, Cuban, Dominican, Central American and South American). We will discuss the migration of different groups, concepts of the “border” and the impact of race and language on Latinx communities.

ENGL 2599-005 - Resistance in Black Literature and Film

TR 05:00PM-06:15PM (Bryan 328)
Amber McBride

Resistance and the African American fight for equality is woven into the fabric of American history. From the very beginning it is documented that enslaved Africans stolen from their homelands resisted by refusing to eat during The Middle Passage.  We see resistance in the establishment of Black towns and universities, in the speeches of the Civil Rights Movement, the films of the 1980's and current documentaries that all work to pull the eye towards social injustices towards African Americans in American culture. In this class we will read speeches from Malcolm X, watch documentaries like High on the Hog and interact with texts that highlight that resistance, though difficult and taxing, brings about positive change.

ENGL 2599-006 - Literature after Auschwitz

TR 11:00AM-12:15PM (Astronomy 265)
Eyal Handelsman Katz

Examining how the Holocaust has been represented in the literature of Jewish American authors, this course will explore issues such as memory and trauma, the ethics of representation, the notion of Holocaust “generations”, and more. Students will engage with the ways in which our conception and memory of the Holocaust have changed in U.S. culture across time, and some of the canonical texts and institutions that have shaped it in different ways.

ENGL 2599-007 - Science Fiction and Identity

MWF 10:00AM-10:50AM (New Cabell 485)
Courtney Watts

Can fiction help us see injustices in our own world with fresh eyes, or dream up a more equitable future? Science fiction has long been a site for exploring identity in alternate worlds, from utopias to dystopias and many spaces in between. In this course, we will dive into the exploratory world of science fiction, focusing on texts by writers of color as well as women and queer writers. We will consider the possibilities offered in these fictive worlds, while also exploring possibilities in how we read and write about them. Applying concepts from social movements in the real world, we will read works of science fiction as participating in a broader social dialogue, and then engage in that dialogue by writing critically about the texts we read. Along the way, we will delve into texts on the edge of the canon, considering what those marginal texts and marginalized voices have to teach us about our own world and possible other worlds.

ENGL 2599-008 - Dark Academia: Beyond the Social Media Aesthetic

TR 03:30PM-04:45PM (Shannon 109)
Kathryn Webb-Destefano

The COVID-19 pandemic influenced a rise in a social media aesthetic and subculture called “dark academia.” In part, media scholars think this interest was due to a romanticization of the college experience which flourished as schools moved instruction fully online. As students desired to return to campus, they produced a romanticized version of academic life in a purely digital space.

Dark academia has a long history in literature and film. This class examines not only the aesthetic qualities of dark academia, but asks larger questions regarding what the academy means and what students are looking for in a college education?

We will not only explore literature and film which influenced the dark academia aesthetic (including Donna Tartt’s 1992 novel The Secret History) but will also analyze some of the Romantic and decadent literature which informed the aesthetic itself. The class will also address criticism of the aesthetic as a space which idolizes the Western Canon and idealizes Eurocentrism. 

ENGL 2599-010 - Romantic Adaptation

TR 06:30PM-07:45PM (New Cabell 332)
Michael VanHoose

How do works of literature resonate across time? What’s gained and lost by turning a Jane Austen novel into a film? How can popular culture teach us to be better literary critics? In this course we’ll investigate adaptations of many sorts across a long, multimedia history of Romanticism. We’ll set 18th and 19th century British novels and poems alongside their 19th, 20th, and 21st century re-imaginings in theater, science fiction, film, comics, heavy metal, &c. In the process, we’ll think about the role adaptation, broadly defined, played in the careers of Romantic authors, who transformed their historical sources into something new, experimented with form to make writing speak between and across media, revised their work mercilessly at different stages in their lives, and sought to carve their place in the canon by reinterpreting their literary forbears. 

ENGL 2599-011 - Literary Portraiture

MW 05:00PM-06:15PM (New Cabell 056)
Rachel Kravetz

It is easy to see characters in fiction as “real,” and to think about them as we would someone we have met. In this course, we will practice stepping back from characters to see how their authors construct them through language. The concept of portraiture, the art of representing a person, will help us in this project. A portrait is meant to capture a person’s likeness, potentially including physical, intellectual, and emotional features. Yet artists and writers have often been compelled to identify an individual with social categories through recognizable markers of, e.g., gender, profession, or class. There have also been continual tensions over whether art should represent certain figures as better than they are, or even better than a person can be.

While the tradition of portraiture is ancient and does not belong to any one culture, this course will focus on a period in English literature when the portrait became a particular focus of energy and interrogation. We will examine how writers of the later nineteenth century, including Robert Browning, Henry James, George Eliot, Walter Pater, Vernon Lee, and Oscar Wilde, make (or fail to make) characters come to life, and how these characters stimulate us to ask questions about how human beings can be rendered in art.

ENGL 2599-013 - Food and the Middle Ages

TR 12:30PM - 01:45PM (Gibson 341)
Casey Ireland

Medieval literature is preoccupied with food and drink—characters abstain from them, procure them, hide them, or celebrate with them. But representations of fasts and feasts, harvests and hunts, Communion wafers and holy wine are not merely depictions of sustenance and indulgence. They also describe the regulation of morality and religious practice, the maintenance of class hierarchies and the delineation of community boundaries. Characters are defined by what they eat as well as when, where, and how. From the fraught ethics of consuming meat to the craze for almond milk, this course examines the culinary as its own character in medieval literature. Readings may include selections from The Canterbury TalesSir Gawain and the Green Knight, Cleanness, and Chrétien de Troyes’ Perceval as well as contemporaneous texts like One Thousand and One Nights and accounts of Crusades-era food hygiene in Jerusalem. 

ENGL 2599-014 - Serious Comedy

MWF 1:00PM-1:50PM (Shannon 111)
Derek Cavens

What does it mean to laugh? Why is something funny (or not)? How has Comedy and Satire changed through history as diverse authors seek to decode and improve our personal and social lives? And how can Comedy's inherent transgressions work in an increasingly sensitive society? In this course, we will read and view a wide range of comedic and analytical texts from Ancient Greece to the present as we explore this undervalued but essential genre's methods and insights.

ENGL 3001-100 - History of Literature in English I

MW 11:00AM-11:50AM (Nau 101)
Bruce Holsinger

Discussion sections TBD.

The past is another country: they do things differently there.  Or do they? Be prepared for the shock of the old—and for its pleasures—as we explore examples of epic and romance, lyric poetry and drama, prose fiction and satire in a course whose range stretches from the Anglo-Saxon heroic poem Beowulf to some variously revolutionary 17th and 18th century works of the imagination. The one sure thing connecting this huge variety of “makings,” these shapings of other people's experiences and beliefs and fantasies, is that someone (somewhere, sometime) felt them important enough to put down in writing and therefore created the possibility for their persistence beyond their own historical moment.  Come and meet some heroic survivors!

Course requirements: attentive engagement with lectures; regular attendance at/lively participation in discussion sections; two 6 page papers, midterm examination; comprehensive final examination.

*ENGL 3220-001 - The Seventeenth Century: An Age of Revolutions?

TR 09:30AM-10:45AM (Bryan 328)
Rebecca Rush

In this course, we will study the poetry, prose, and drama of a century marked by revolutions. In 1620, Francis Bacon asserted that all human knowledge needed to be rebuilt from the foundation upward. In 1649, John Milton argued that the English people could dethrone and behead the king (they did), and Gerrard Winstanley made the case that, while they were at it, they should also overturn personal property ownership (they didn’t). Over the course of the semester, we will tease out the common threads in these cases for philosophical, political, and economic revolution and interrogate the underpinnings of their arguments. Are their ideas really novel and revolutionary? Are the radicals really who we think they are? Why do they so often depict their revolutions as returns to older times? How do they qualify and limit their radical claims? We will read works of political and philosophical prose in conversation with literary works—from Francis Bacon’s scientific utopia New Atlantis to Aphra Behn’s comedy about the romantic exploits of Cavaliers in exile—that meditate on the transformations and continuities of the century in markedly different ways.

Authors include Francis Bacon, Aphra Behn, John Donne, Ben Jonson, Robert Herrick, Thomas Hobbes, Andrew Marvell, John Milton, and Katherine Philips.

*ENGL 3271-100 - Shakespeare: Histories and Comedies

MW 12:00PM-12:50PM (Clark 108)
Katharine Maus

Discussion sections TBD.

This course deals with the first half of Shakespeare's career as a playwright, in which he was mainly writing histories and comedies. ENGL 3272, in the Spring, deals with the second half of Shakespeare's career, in which he was mainly writing tragedies and romances.  You may take either or both courses; neither is a prerequisite for the other.

2 50-minute lectures and 1 50-minute discussion section per week.

Requirements: 3 five-page papers, a final exam emphasizing material covered in lectures and section meetings, and regular short assignments made by section leaders.

This course does not automatically fulfill the Second Writing Requirement, but it may be tweaked to do so.  See me in the first few weeks of the semester if you are interested in this option.

**ENGL 3310-001 - Eighteenth-Century Women Writers

TR 11:00AM-12:15PM (Bryan 328)
Alison Hurley

During the eighteenth century, social, economic, and technological developments in Britain converged to alter the ways in which texts were produced and consumed. The result of these innovations was a print culture that offered women the opportunity to step onto the public stage as professional authors for the first time. Female authors, nevertheless, remained intensely aware of their “delicate situation” within the literary public sphere. They responded to this situation by deploying a variety of authorial strategies that ingeniously combined self-promotion with self-protection in order to legitimize their appearance in print. This class will be particularly interested in examining the relationship between gender and genre in eighteenth-century Britain. Our readings will highlight a series of specific literary forms – drama, poetry, and the novel – each of which implicates gender in distinctive and compelling ways.

Class requirements include frequent discussion thread posts; two thesis-driven essays; a poetry annotation assignment; and a “blue-book” essay-based final exam. Our class meetings will promote discussion and student participation and as much as possible.

**ENGL 3480-001 - The Way We Live Now: The Novel in the Nineteenth Century

MW 03:30PM-04:45PM (Maury 110)
Stephen Arata

“Novels are in the hands of us all,” wrote Anthony Trollope in 1870, “from the Prime Minister down to the last-appointed scullery maid. We have become a novel-reading nation.” Indeed, over the course of the nineteenth century the novel became the most popular—and profitable—literary genre in Great Britain. Its success was due to many factors, none perhaps more important than the extraordinary sophistication and emotional power with which novelists set out to portray (as the title of one of Trollope’s own novels puts it) “the way we live now.” More than ever before, novelists were committed to recording the visible world in all its abundant detail while also exploring the complex interior lives of individual women and men. They accomplished these feats, moreover, by way of gripping stories full of adventure, love (lust too), betrayal, mystery, and wonder. In this course we will immerse ourselves in a half-dozen or so of the finest examples of the genre, chosen from among such writers as Jane Austen, Charles Dickens, Charlotte Bronte, Emily Bronte, George Eliot, Margaret Oliphant, Thomas Hardy, and Trollope himself. Requirements will likely include bi-weekly email responses, two essays, a midterm, and final exam.

ENGL 3500-001 - Literary Games

MW 05:00PM-06:15PM (Bond 106)
Brad Pasanek
Co-taught with Jason Bennett, Learning Design & Technology

This course in “extra-literary” criticism tasks English majors and other students with investigating the ways video games are available for interpretation and formal analysis. We will read game studies and literary theory, play games, and--take note!--learn to build them. Students will be introduced to the Unity game engine and framework. (No prior experience with programming required.) Our main effort is to check and test literary theory in "defamiliarized" ludic contexts, designing sprites and worlds and complicating traditional intuitions about narrative, characters, and fiction by means of game experiences. Students will protoype a literary game for their final assignment.

ENGL 3500-002 - Pursuing Happiness

TR 02:00PM-03:15PM (Pavillion 8 102)
Lorna Martens

Fictions of happiness pursued--and found!  Through the ages, people have sought happiness and formulated conceptions of what happiness means.  Happiness could be something we once had--then lost--but might find again; something we might achieve by acting wisely or performing meritorious deeds; something possible through escape; alternatively, something available in the here and now; bound up with love or recognition from others; or a byproduct of creativity, independent of others.  This course is not a self-help course.  Don’t take it expecting to find the key to happiness.  This is a literature course.  We’ll read fiction, poetry, theory.  But we will read some cheerful and uplifting (or at least moderately cheerful or uplifting) literature, to raise our spirits as the pandemic, with luck, recedes.  Texts by Hesiod, Ovid, Chrétien, Rousseau, Schiller, Novalis, Wordsworth, Emerson, Valéry, Hunt, Rilke, Hilton, Stevens, Cavafy, Thurber, Giono, Nabokov, I. Grekova.  Some theory of happiness and one or two films.  Lots of discussion, two short presentations, two short formal essays, and a final exam are envisaged.

*ENGL 3510-001 - Medieval Romance

TR 11:00AM-12:15PM (Monroe 118)
Clare Kinney

In this course we’ll explore medieval narratives of questing and testing, of magic and wonder, of courtly love and chivalric violence. We’ll be paying attention to the gendering of romance and to the space it finds for female desire and female voices; we’ll also be considering romance’s representations of otherness and alienation.  Towards the end of the semester, our syllabus will glance at two modern cinematic reinventions of the genre.

Tentative reading list (the French works will be read in translation): the Lais of Marie de France, Chrétien de Troyes’ Lancelot and Yvain; Sir Gawain and the Green Knight, Chaucer’s Knight’s Tale and The Book of the Duchess; Sir Orfeo; The King of Tars; excerpts from Thomas Malory’s Morte D’Arthur; John Boorman’s Excalibur (1981); Ridley Scott’s The Last Duel (2021).

Requirements: regular attendance and lively participation in class discussion, two 6-7 page papers, a series of pre-class responses to our readings, comprehensive final examination.

*ENGL 3515-001 - Augustine of Hippo

TR 09:30AM-10:45AM (New Cabell 232)
Kevin Hart

Cross-listed with RELC 3790, ENGL 5830.

St. Augustine (354-430) is certainly the most important writer in early Christianity and his influence, both literary and theological, has been varied, intense, and extensive. This African writer composed an immense oeuvre, including personal testimony, philosophical dialogues, scriptural commentary, thought about God, ecclesial controversy, letters, and sermons, while also, for much of his life, being Bishop of the town of Hippo (near modern Annaba, Algeria). His work marks much medieval literature, the theory of signs, our understanding of history, and rhetoric, as well as medieval and modern concepts of human selfhood and the nature of God.

In this seminar we shall read a rich selection of Augustine’s writings, paying special attention to how he interprets Scripture, what he thinks we are doing when reading texts, what he says about prayer and seeing God, about Christian love, and what he thinks about the human relationship with the divine.

**ENGL 3540-001 - Romanticism

TR 11:00AM-12:15PM (Dell 2 102)
Herbert Tucker

“Romanticism” is the odd but indelible name that belongs to British writing from the long, noisy turn of the nineteenth century. It was a time when the French Revolution and Napoleonic wars set old Europe’s social structures on fire, while underneath that political blaze the inexorable advance of industrial capitalism made for slower but surer changes in the way we modern heirs of the Romantics continue to live, argue, and dream. Readings will strike a balance between verse and prose, nonfiction and fiction (Walter Scott, Jane Austen), men’s and women’s writing. Class meetings will mix informal lecture with group discussion; to get poetry off the page and under our skin we’ll do a fair amount of reading aloud. Each student will write two shorter essays and one longer one. A collaborative mock-midterm in October will tone us up for the final exam at the end of it all.


**ENGL 3545-001 - U.S Literature and Social Justice

TR 02:00PM-03:15PM (Monroe 118)
Victoria Olwell

Exploring U.S. literature from the antebellum period through the Progressive Era, this course asks, what strategies did literary authors use to influence public debates about social, economic, and political justice? Beneath this question lie two more:  What underlying conceptions of justice did U.S. literature advance, and how might we assess them? Literature during the era we’ll consider spanned the full political spectrum, but our focus will be primarily on literature invested in the extension of rights, equality, and protections to dispossessed people, as well as in the amelioration of politically induced suffering. We’ll examine literary protests against slavery, Jim Crow law, Chinese exclusion, urban poverty, women’s status, and the conditions of industrial labor. Course requirements include several short papers, class participation, and a final exam.

ENGL 3560-001 - Musical Fictions

TR 02:00PM-03:15PM (New Cabell 364)
Njelle Hamilton

Cross-listed with AAS.

Why do we imagine that musicians have some kind of special gift, some magic that makes them something more than human? Why do we mourn so deeply and collectively when our favorite musician passes away? Why do we form Hives and Navies to publicly, collectively, and obsessively follow and fawn over our favorite performers? Over the course of this semester, we will explore the genre of the contemporary musical novel as we interrogate why writers and readers are so intrigued by the figure of the musician as a literary trope. Pairing close listening and music theory with close reading of important blues, jazz, reggae, mambo, calypso and rock novels set in the U.S., U.K, Jamaica, Trinidad, France, and Germany, we will consider how novelists attempt to record the soul, lyrics, and structure of music, not on wax, but in novelistic prose, and what kinds of cultural baggage and aesthetic conventions particular music forms bring to the novel form. Why for example, are ‘jazz’ novels so concerned with race and the chronicle of black lives under oppression and violence all across the globe? Why are so many ‘rock’ novels written by male writers, and why do they so often deal with issues of (white) masculinity under threat? The topical nature of many of these issues, songs, and novels will hopefully inspire you to thought-provoking class discussions, critical response papers, and final papers that push against the “fictions” and assumptions of musicians and novelists alike.

ENGL 3560-002 - Literature and Trauma

TR 12:30PM-01:45PM (New Cabell 032)
Mrinalini Chakravorty

How is trauma narrated?  Does literature give wounds a voice that bears witness to injury?  Can imaginative works convey intense personal and collective suffering?  Or is language itself an impediment to the expression of hurt?  Is our understanding of pain cultural?  How do we make the torment of another legible?  How does storytelling distinguish intimate traumas (such as accidents or rape) from vast social damage (war, colonialism)?  This course grapples with such questions. 

Our study of trauma’s relation to literature will consider psychoanalytic ideas of historical and personal trauma reflected in literary works of the modern period.  Our approach will be interdisciplinary, considering how powerful concepts in the hermeneutic of psychoanalysis (repression; repetition compulsion; abjection; misrecognition; lack; affect etc.) have been generated by literary works, as well as challenged and absorbed into them.  Insofar as traumatic experience produces a subjective breach, we will think about how certain forms and styles of literature are more (or less) suited to reflect the rupture.   We will read formative texts of psychoanalysis (Freud; Lacan; Kristeva; Foucault and others) and trauma theory (Caruth; Silverman; Fanon; Scarry).  Our survey of literary works includes texts by Jean Rhys, Virginia Woolf, J.M. Coetzee, Alison Bechdel, Bessie Head, Tom McCarthy and Han Kang among others.

ENGL 3560-004 - Freud and Literature

TR 11:00AM-12:15PM (Pavillion 8 102)
Lorna Martens

In formulating his model of the psyche and his theory of psychoanalysis, Freud, a scientist with a vast humanistic education, availed himself of analogies drawn from various fields, including mechanics, optics, philosophy, politics--and not least, literature.  Freud textualized the human mind, turning the stories generated by its different levels into an object of analysis.  But if literature was formative for psychoanalysis, Freud's ideas in turn captured the imagination of many twentieth-century literary writers.  After introducing Freud's theories through a reading of his major works, including The Interpretation of Dreams, the course will turn to literary works by post-Freudian writers, including Kafka, Schnitzler, Breton, Lawrence, and Woolf, that engage with Freud's masterplot.

ENGL 3570-001 - American Wild

MW 02:00PM-03:15PM (Dell 2 101)
Stephen Cushman

With biblical images of wilderness in mind, seventeenth-century English colonizers of Massachusetts described what they found as another wilderness, howling, savage, terrible.  For them it was to be feared, avoided, and, where possible, tamed.  Four centuries later, with eighty percent of U.S. citizens living in cities, many of them exposed to wilderness only through calendar pictures or screensaver photos, what meaning or value does American wildness have?  Is it only a fantasy image, part of an American brand, as in the phrase “the wild West.”  Are wildness and wilderness the same thing?  Has the howling, terrible, untamed wildness of the seventeenth-century forest relocated to another sphere, in the wildness of wildfires in California and throughout the west?  Is climate the new frontier, the new wilderness, where Americans encounter untamed wildness in droughts, floods, violent storms, and extreme weather?  Have we come full circle to more biblical imagery, with apocalypse replacing wilderness as the rubric under which we encounter the wild?

This course will begin with a look at biblical antecedents and their influence on white colonists encountering landscapes inhabited by native people.  From there we’ll move to the literature of westward exploration, and further encounters with indigenous populations and their lands, in selections from the journals of Jefferson-commissioned Lewis and Clark.  Then it’s on to the mid-nineteenth pivot toward wildness in the eyes of Romantic beholders, foremost among them Henry David Thoreau, patron saint of preservation and the environmental movement.  Next comes John Muir, whose vision of wilderness begat the U.S. National Park System, admired around the globe and synonymous for many with user-friendly wildness.  Proceeding to the twentieth-century, we’ll add important voices, such as Aldo Leopold’s and Rachel Carson’s and Rebecca Solnit’s, as the preservation impulse merges with concern about public health and social justice.  We’ll complete our tour in the twenty-first century by joining the intensifying conversation about whether the visions of Thoreau, Muir, et al. are exclusively white and male.  

Open to all.  Those in the Environmental Thought and Practice Program welcome.

ENGL 3570-003 - Jim Crow America

TR 02:00PM-03:15PM (New Cabell 395)
Marlon Ross and Ian Grandison

Why has Jim Crow persisted? This course examines how the Jim Crow regime was established in New England during the early republic, how it was nationalized after the Civil War, and how it has been perpetuated into the present, despite the passage of 1960s Civil Rights legislation. What have been the changing modes of maintaining Jim Crow particularly in law (including law enforcement), education, planning, public health, and mass media (newspapers, film, radio, and social media); and what strategies have African Americans used to fight Jim Crow segregation, discrimination, disenfranchisement, and economic exclusion. Taking a place-specific approach to understanding the material practices and consequences of the Jim Crow regime, we’ll examine in depth the overlapping dimensions of everyday life where Jim Crow has been especially prominent, including: 1) personal and collective mobility; 2) the struggle over public education; 3) planning and access to public facilities; 4) housing and employment; and 5) the justice (or injustice) system. Focus will be placed on Charlottesville, Richmond, and Washington, D.C. as case studies. The course culminates in a required field trip.

ENGL 3572-001 - Multimedia Harlem Renaissance

TR 11:00AM-12:15PM (Brooks 103)
Marlon Ross

This course explores the 1920s Jazz Age, or New Negro movement, from a multimedia perspective of the Harlem Renaissance in literature, journalism, painting, sculpture, dance, music, photography, film, and politics. We’ll consider the geopolitics not only of Harlem as a “Mecca of the New Negro” but also of Chicago, D.C., Richmond, and Lynchburg as instances of places contributing to the idea of the New Negro Renaissance.  We’ll examine some of the hot debates and combustible movements of the time, including:  the Great Black Migration, art as uplift and propaganda, elite versus vernacular approaches, the Negro newspaper, Negro Wall Streets and pioneer towns, race rioting, urban sociology, the Garveyite movement, Negro bohemianism, the gendering of the Renaissance idea, queer subcultures, radical activism, and interraciality. We’ll sample a wide range of works: essays by W.E.B. Du Bois, Alain Locke, Jessie Fauset, and Marcus Garvey; poetry by Georgia Douglas Johnson, James Weldon Johnson, Anne Spencer, Langston Hughes, and Claude McKay; fiction by Zora Neale Hurston, Rudolph Fisher, Nella Larsen and Wallace Thurman; drama by Willis Richardson and Zora Neale Hurston; art by Aaron Douglas and Augusta Savage; dancers and choreographers Katherine Dunham, the Nicholas brothers, and Josephine Baker; musicians Duke Ellington, Bessie Smith, Billie Holiday, Harry Burleigh, and Roland Hayes; photographers Addison Scurlock and James Van Der Zee; and the filmmaker Oscar Micheaux.

ENGL 3660-001 - Modern Poetry

TR 12:30PM-01:45PM (Bryan 328)
Mark Edmundson

In this course we’ll seek to understand and appreciate a group of brilliant modern poets. We begin with Robert Frost, who offers immediate, and very real satisfactions, but who also, on extended study, reveals a deeper, darker side. We’ll read Wallace Stevens next, a stunningly original poet, who looked for paradise in his own imagination. Then we’ll consider T.S. Eliot—author of the culture-shaking poem, “The Waste Land.” With that basis we’ll move out to the singular observer and moralist, Marianne Moore; the independent and high spirited poet of African American life, Langston Hughes; and Elizabeth Bishop, artful poet of loneliness and solitude. Perhaps we’ll end with a contemporary poet or two. Ross Gay? Frederick Seidel? There will be a couple of quizzes, and a paper at the end in which students offer informed appreciation of their favorite writer in the course.

ENGL 3790-001 - Moving On: Migration in/to US

TR 12:30PM-01:45PM (Bryan 235)
Lisa Goff

This course examines the history of voluntary, coerced, and forced migration in the U.S. It traces the paths of migrating groups and their impact on urban, suburban, and rural landscapes. Students will dig for cultural clues to changing attitudes about migration over time. While novels and memoirs make up the bulk of the assignments, we will also analyze photographs, videos, films, poems, paintings, and podcasts. We will also explore the growing body of digital humanities resources related to migration and mobility, including but not limited to resources collected by the DPLA on the Great Migration and the Exodusters; and Torn Apart volume one, “Separados,” about 2018 asylum seekers at the Mexican border.   

Assignments will teach students to analyze literature and popular culture; express their ideas in written and visual form; and conduct historical and cultural analysis and interpretation. Class participation/contribution is the core of this class: please note the attendance policy. Other assessments include reading responses, papers, and reflective essays. There will be one test; no midterm or final exam. Students will be required to volunteer 10 hours with a migration-related project during the second half of the semester.

ENGL 3800-001 - Contemporary Literary Theory: Five Questions

TR 02:00PM-03:15PM (Maury 110)
Emily Ogden

Literary theory is the work of explaining what exactly it is that we do when we write, read, and interpret texts we call “literature.” This course surveys the major topics of literary theory by focusing on a series of extremely basic, extremely tough questions: 1) what is literature? 2) what is creativity? 3) what does this text mean? 4) but is it any good? and 5) if all I can offer is an interpretation or an opinion, what’s the point? We’ll look together at some of the best and most interesting answers that have been given to these questions. Readings will include Mikhail Bakhtin, Roland Barthes, Sianne Ngai, Toril Moi, Stanley Cavell, Jonathan Culler, Raymond Williams, and others. 

ENGL 3900-001 - Medical Narratives

TR 03:30PM-04:45PM (Shannon 111)
Anna Brickhouse

This course is designed for English majors as well as students who may one day enter a medical field—and should appeal to all students who love short stories. It explores the history of the American short story from the nineteenth century through our own by focusing specifically on medical themes: ailing and injured bodies and minds; doctors, nurses, and patients; the social construction of disease and madness as well as of health and sanity. It is widely acknowledged today in various fields of medical research and clinical training that the effective and humane practice of medicine requires what has been called “narrative competence”: the ability to recognize and interpret the stories people tell; to attend closely to the details that accumulate to make a larger meaning; to evaluate contradictory and competing hypotheses about meaning; to locate expression within cultural context; and finally to appreciate and respond to any given story for its insight into the human condition. But if these skills are in demand within the medical fields, they also shape the practice of the English major. We will discuss classic stories as well as the work of recent writers.

ENGL 3924-001 - The Vietnam War in Literature & Film

TR 12:30PM-01:45PM (New Cabell 309)
Sylvia Chong

It has been over 40  years since the Fall of Saigon in 1975, marking the end of a war that claimed the lives of an estimated 58,260 American troops and over 4 million Southeast Asians across Vietnam, Laos, and Cambodia. In the U.S. today, “Vietnam” signifies not a country but a lasting syndrome that haunts American politics and society, from debates about foreign policy to popular culture. But what of the millions of Southeast Asian refugees the War created? What, in this moment of commemoration and reflection, are the lasting legacies of the Vietnam War / American War for Southeast Asian diasporic communities? We will examine literature and film (fictional and documentary) made by and about Americans and Southeast Asians (Vietnamese, Cambodians, Laotians, and Hmong) affected by the Vietnam War, spanning the entirety of this 40 year period. Texts may include Francis Ford Coppola, Apocalypse Now; Tim O'Brien, The Things They Carried; Peter Davis, Hearts and Minds; Yusek Komunyakaa, Dien Cia Dau; Tiana Alexander, From Hollywood to Hanoi; Viet Thanh Nguyen, The Sympathizer; Duong Thu Huong, Paradise of the Blind; Clint Eastwood, Gran Torino; Socheata Poeuv, New Years Baby.

*ENGL 3971-001 - The History of Drama I

MW 02:00PM-03:15PM (Dell 2 103)
John Parker

The first third of this course will cover the drama of classical antiquity in translation, beginning with Greek plays by Aeschylus, Sophocles, Euripides, and Aristophanes, then moving from there to the Latin plays of Plautus, Terence and Seneca.  The next third of the course will consider the kinds of performance that displaced (and in some cases transformed) this pagan tradition after the Christianization of the Roman empire, including liturgical drama, a morality play, a saint play, biblical drama and farce.  The final third of the course will cover plays from the Renaissance, focusing particularly on the commercial London stage of Christopher Marlowe, William Shakespeare and Ben Jonson.       

A major goal of the course will be to answer some of the questions posed by historical period: what does it mean, in the context of this particular genre, to move from antiquity to the Middle Ages to the Renaissance?  How seriously should we take the differences between paganism and Christianity?  What portion of early modern drama derives from classical antiquity, what portion from the Middle Ages, and what portion, if any, is new?

*ENGL 4270-001 - Shakespeare Seminar

MW 03:30PM-04:45PM (New Cabell 115)
John Parker

A broad survey of Shakespeare's plays, likely to include  The Comedy of Errors, A Midsummer Night's Dream, Romeo and Juliet, Titus Andronicus, Richard II, Troilus and Cressida, Measure for Measure, Hamlet, Macbeth, King Lear, Antony and Cleopatra, Coriolanus, and The Winter's Tale.  We will explore Shakespeare's relation to his sources, inquire into the earliest printed versions of the plays, and consider how practices of the print shop and playhouse shaped the texts that we have.  We'll read one play per week, for the most part letting its particular concerns dictate the course of our conversation.  There will be two papers (around 6pp. each), a midterm and final. 

*ENGL 4510-001 - Thomas Malory's King Arthur

TR 12:30PM-01:45PM (Brooks 103)
Elizabeth Fowler

In this class, we explore Le Morte Darthur, the famous compendium of stories about King Arthur's round table, Gawain’s and Morgan le Fay’s passions, Lancelot’s heroism, and Guenevere’s challenges. It's the most influential early prose fiction in English, one that still produces imitations, sequels, and prequels in every medium known to art. Writing a century after Chaucer and a century before Shakespeare, Malory is spell-binding and curiously dry, full of terse, flat statements of shocking, magical, moving acts. We'll read the entire work in the original language and puzzle over what makes it tick: narrative, imagery, style. We’ll probably have five quizzes, some flash writing sprees, one short creative research project (writers, artists, and game developers: feel welcome to develop your skills!), and a longer seminar paper (~15 pages) that involves developing your research skills.

*ENGL 4520-001 - Paradise Lost

TR 02:00PM-03:15PM (Bryan 332)
Clare Kinney

We will slowly and carefully explore Milton’s enormous and embattled epic of origins—and we will also examine several of his earlier poetic experiments, glance at his political writings on censorship and divorce, and look at some provocative literary criticism of Paradise Lost. Among the issues the course will address: Milton the revolutionary (the politics and poetics of rebellion); Milton the rewriter of Scripture (inspired re-creation or Satanic supplementation?); Milton and gender (is paradisal bliss really conditional upon female secondariness?); Milton and literary history (how can we digest the poetry that tries to swallow all its predecessors?).

Requirements: enthusiasm, stamina, regular attendance and lively participation in class discussion; regular e-mail response postings; a 6-7 page paper, a long concluding research paper.

**ENGL 4545-001 - Literature of the Americas

TR 11:00AM-12:15PM (The Rotunda 152)
Anna Brickhouse

This course will explore a wide range of (broadly defined) fictions from and about the Americas, from writings by Columbus and the conquistadors through modern and contemporary novels, novellas, and short stories. Topics will include New world “discovery” and conquest; borderlands and contact zones; slavery and revolution; and the haunting of the global present by the colonial past. One goal of the syllabus is to encourage readings and interpretations that operate at the intersection of fiction and history, using literary analysis to limn aspects of the hemispheric American past that historicism alone cannot. But students should feel free to use the course to develop their own questions, problems, and interests as well.

**ENGL 4545-002 - Poe and Modernism

TR 12:30PM-01:45PM (Shannon 108)
Emily Ogden

The poetry and fiction of nineteenth-century American writer Edgar Allan Poe has had a diverse and wide-reaching impact, influencing the development of French symbolism and modernism, Latin American magical realism, mystery-writing and science fiction. In this course we will read the poetry and tales of Edgar Allan Poe along with writers influenced by him, focusing on writers of the late nineteenth and early twentieth century. We’ll follow Poe’s trajectory beginning with Charles Baudelaire’s translation of his work into French, through his influence on French symbolist and modernist poets such as Paul Valéry and Stéphane Mallarmé. From there we’ll trace Poe’s reappearance in Latin American magical realism (such as in the work of Jorge Luis Borges) and in the English decadent movement (the work of Oscar Wilde). Our focus will be on modernism, but we’ll devote a little attention, too, to Poe’s legacy in mystery-writing, beginning with Arthur Conan Doyle’s Sherlock Holmes character, and in science fiction, beginning with Jules Verne’s adaptation of Poe’s novella Arthur Gordon Pym. We’ll also consider the present-day inheritors of Poe’s modernism, including Mat Johnson and Lisa Robertson. All work will be read in English translation, although students with knowledge of French and Spanish are encouraged to read the originals in those languages.  

ENGL 4559-001 - Visualizing Racial Capitalism

W 03:30PM-06:00PM (Bryan 235)
Janet Kong-Chow

This course will explore the interdisciplinary origins and coalescing definitions of racial capitalism, the relationship between racialization and visual culture, and the triangulation of image, class, and race in North American aesthetic production. Key terms we will engage include: labor, surveillance, interiority, fetish, settler-colonialism, property, and extraction.

ENGL 4560-002 - Modern Love and U.S. Fiction

TR 11:00AM-12:15PM (Bryan 332)
Victoria Olwell

Maybe love is eternal, but it’s also historical and ideological. Love is shaped by custom, law, and narrative, and it plays a central role in the formation of private and public life alike. This course examines romantic love in U.S. fiction from the late nineteenth through the early twentieth-first centuries. Our primary texts will cross genres as well as centuries as we examine romance, realism, modernism, post-modernism, and documentary. In addition, we’ll read archival and scholarly non-fiction. We’ll interpret fiction in light of historical changes in conceptions of love, based in factors including shifting economic conditions and changing conceptions of marriage, citizenship, queer sexualities, and modern psychology. We’ll discern the connections between romantic love and ideas of race, gender, nationhood, and empire. Students will be graded on two short papers, class participation, a 10-12-page final paper, and a final exam.

ENGL 4560-003 - Robert Frost and William Butler Yeats: Poetry and Wisdom

TR 03:30PM-04:45PM (Bryan 332)
Mark Edmundson

Is it possible for poets in the modern period to dispense plausible wisdom?  Both of these great poets aspire to do just that. How is the wisdom they offer, or try to offer, different from what philosophers give?  Is there a wisdom unique to poetry? Are there particular dangers to be aware of when poets aspire to be wise? Can they cause confusion? Can they cause harm? Do they sometimes erase the individual values of the reader with their authority and their eloquence? Or can they be lamps for our lives, teaching us, in Wallace Steven’s phrase, How to live and what to do? We’ll read most all of Frost’s poems and most all of Yeats’s, and maybe we’ll even take a shot at
his wild, prophetic book, “A Vision.”  A short paper, a longer one, plenty of class conversation.  

ENGL 4560-004 - Harlem Stories

TR 12:30PM-01:45PM (Bryan 203)
Sandhya Shukla

Harlem has been many things to many people – capital of a global African diaspora, an early instance of Italian and Jewish immigrant communities, home to an important el barrio, a representative site of contemporary gentrification and, above all, a place for racial and ethnic minoritization.  This course will explore many of those lived and symbolic Harlems from the early twentieth century to the present.  It will closely consider representations that both open up a paradigmatic case of race and class in the United States and dwell in the possibilities of cross-cultural exchange across regional divides.  We will employ the language and structure of globality to understand the heterogeneity of blackness – African/American, Caribbean, Puerto Rican and more – and variegations of whiteness, in a range of novels, films, memoirs and essays that interrogate identity and community.  The mix of approaches across fields will build an interdisciplinary inquiry into the production of social space and suggest that forms – narrative structures and modes, styles of description – are crucial for understanding the power of this place.  

Key texts may include fictional and non-fictional works such as Chester Himes’s A Rage in Harlem, Nella Larsen’s Quicksand and Passing, Claude McKay’s Home to Harlem, Toni Morrison’s Jazz, Ernesto Quinones’s Bodega Dreams, Sharifa Rhodes-Pitt’s Harlem is Nowhere, Langston Hughes’s Montage of a Dream Deferred, Monique Taylor’s Harlem Between Heaven and Hell, and Piri Thomas’s Down These Mean Streets, as well as cultural historical and theoretical materials by George Hutchinson, Robert Orsi, Wilson Harris, Edouard Glissant and Marshall Berman.  Students will be required to present on one week’s materials for class, submit regular reading responses and complete one critical essay and a longer research paper on a chosen topic.

ENGL 4560-005 - Self-Reflective Writing in the Black Diaspora

MW 02:00PM-03:15PM (New Cabell 411)
Lexi Smith

Between the “traditional” genres of essays, speeches, poems, autobiography, and novels, and newer forms of biomythography, autoethnography, autofiction, and autotheory, Black writers have a rich history of merging life writing with other forms of knowledge production. “Life Writing in the Black Diaspora” will closely read works of life writing by contemporary Black authors including Saidiya Hartman, Dionne Brand, and Audre Lorde among others, and put these primary texts in conversation with scholarly literature that helps us to identify what life writing teaches us about how Blackness, the African diaspora, gendered embodiment, and erotic intimacy are lived across spaces and times.

ENGL 4561-001 - The Queer Novel

TR 09:30AM-10:45AM (Dell 1 104)
Mrinalini Chakravorty

What is “queer” about the novel?  Our course will grapple with this question by examining the rich legacy of non-normative sexual expressions and orientations in the literary arts.  The aim of the course is—

  1. To understand what constitutes ‘queer literature’ as a meaningful genre or archive.  Is the queer novel unique in its expressivity, in terms of style and content?  Does the queer novel have its own canon?  Should this canon be more open to revision than others given the constant evolutions in how we understand gender?
  2. To see how novels engage political ideas of sexuality germane to thinking about queerness, such as of ‘homophobia,’ the ‘closet,’ 'inversion’ ‘gender bending,’ ‘cis-acting,’ ‘coming out,’ ‘failure,’ ‘deviance,’ ‘camp,’ ‘cruising,’ ‘queer futurity,’ ‘queer feeling,’ ‘homonationalism,’ ‘disidentification,’ ‘performitivity,’ ‘flamboyance,’ etc.  
  3. To confront radical questions about subjectivity and embodiment that the analytic of sexuality enables us to ask about the worlds we inhabit and the texts that represent these worlds.  

To accomplish these goals, we will read sweepingly across the whole breadth of the queer canon.  We will begin with early classics (by Radclyffe Hall, Virginia Woolf, E.M.Forster) of queer literature and then shift our attention to more contemporary transnational contexts concerned with representing queerness as a part of, and not apart from, affiliations of race, culture, religion, geography, class etc.  Our reading includes works by Radclyffe Hall, James Baldwin, Audre Lorde, Ali Smith, Leslie Feinberg, Michael Cunningham, Shyam Selvadurai, Alison Bechdel, Saleem Haddad, and Shaani Mootoo among others.  In other words, we will think of the important ways that the evolution of the queer novel involves a perpetual re-queering of the genre itself by the insistent heterogeneity of racial, transnational, and transgender contexts.  While most of the novels we read will come from the Anglophone tradition, some will be translated from other languages.

This course will require that students be prepared to engage directly and fearlessly with the field of queer theory.  Queer theory will inform how we contextualize the subcultures of queerness (from Bloomsbury or Stonewall to Queer-of-Color activisms), as well as understand why notions of reproductive normality, eroticism, pleasure, kinship, and indeed queer identity have been transformed in recent literary and aesthetic works.  Ultimately, we will ask how queer aesthetic works speak to, revise, and must be re-evaluated given the shifting dynamics of queer thought.  Here our reading includes work by Michel Foucault, David Halperin, Judith Butler Jasbir Puar, Monique Wittig, Adrienne Rich, Judith Halberstam, Sara Ahmed, Lee Edelman, Jose Munoz,  Marlon Ross, and others.  Finally, a selection of salient films, poems, and short stories will allow us to see useful connections between the aesthetic and political charge—often one of transgression—that the sign of the “queer” carries.

ENGL 4570-001 - Reading the Black College Campus

T 05:00PM-07:30PM (Bryan 310)
Ian Grandison

How does the monumentality of the signature buildings on the campuses of land-grant colleges and universities in America resist the slight “Cow School” to belittle the official mission of these institutions?  Does the ubiquitous ivy that cloaks their campuses reinforce our perception of the exclusivity of Ivy League colleges and universities?  How does the discourse that posits the UVA Lawn as a seminal architectural legacy of a United States founding father help to distinguish the Lawn’s residents from passers-by, who must admire it from a respectful distance?  “Reading the Black College Campus” is a student-centered, sensing/interpreting/communicating course that is generally concerned with the ways in which built environments are entangled with the negotiation of power in society.  In particular, we explore this goal by focusing on how the campuses of HBCUs (Historically Black Colleges and Universities) were shaped by (and shaped) the struggle to democratize education in the United States especially during the Jim Crow Period.  Rather than the still dominant approach in architectural and landscape architectural criticism to emphasize art-historical interpretations, we foreground interpretations that engage built environments, such as college campuses, as arenas of cultural conflict and negotiation.  As such, we are less interested in engaging the campus of Tuskegee University in Alabama as representing the genius of David Williston (Tuskegee’s black landscape architect at the turn of the last century) than in such questions as why the institution’s industrial facilities were placed at the main entrances to its campus during that period.  With this interrogation as a model, students are encouraged to engage our own campus more critically.  Beyond its significance as an outdoor museum of neo-classical buildings, for example, we consider the Lawn as a multi-layered record of the sometimes delicate and sometimes robust negotiation among the individuals and groups connected with it for position and privilege in the social hierarchy.  In short we begin to engage built environments as important sources for cultural critique.  Through discussion of readings and field trips (including one to the campus of a Virginia HBCU), lectures and workshops, and student-group presentations, we explore ideas, concepts and methods to read built environments by synthesizing knowledge gained from sensing them, studying them through maps and diagrams and primary and secondary written and oral accounts.  Readings include Anderson’s Black Education in the South.

ENGL 4580-001 - Aesthetics and Politics

MW 03:30PM-04:45PM (New Cabell 044)
Rita Felski

This course considers the relationship between aesthetics and politics via a survey of key terms in literature and the visual arts, including realism, modernism, the avant-garde, kitsch, camp, postmodernism, and the sublime. Other topics to be discussed include the museum, the role of race and gender in aesthetics, old and new directions in the sociology of literature and art, and the recent “return to beauty.” 

ENGL 4580-002 - Feminist Theory

TR 02:00PM-03:15PM (Cocke 101)
Susan Fraiman

An introduction to US feminist criticism and theory. This course pairs novels and other works by women with critical and theoretical essays. Our goal is to encounter and contrast diverse feminist approaches to literary and cultural texts. The syllabus is also informed by queer theory, critical race theory, postcolonial studies, and cultural studies. I expect to explore such themes as mobility and migration, mother-daughter relations, the “male gaze,” incarceration/escape, female masculinity, and conflicts/commonalities among women. Beginning with the emergence of feminist literary theory in the mid-1970s, we will consider the stages of its development, its influence on canon formation, and the way gender intersects with other axes of identity (race, sexuality, disability, class, etc.). Possible primary texts (still tentative) include Pride and Prejudice (1813), Incidents in the Life of a Slave Girl (1861), The Well of Loneliness (1928), My Year of Meats (1998), a contemporary film, graphic narrative, and popular romance. Probable theorists include Laura Mulvey, Eve Sedgwick, Sara Ahmed, Chandra Mohanty, Judith Butler, and Jack Halberstam, among many others.  Students should be prepared for some challenging materials and heavy reading load. Aimed at third- and fourth-years; exceptions may be made, with the permission of instructor, for those with strong backgrounds in theory and/or gender studies. 5-page paper, 10-page paper, and a final exam.

ENGL 4901-001 - The Bible: Part 1 - The Hebrew Bible / Old Testament

MW 11:00AM-12:15PM (Dawson's Row 105)
Stephen Cushman

The stories, rhythms, and rhetoric of the Bible have been imprinting readers and writers of English since the seventh century.  Moving through selections from the Hebrew Bible / Old Testament, from Genesis through the prophets, this course focuses on deepening biblical literacy and sharpening awareness of biblical connections to whatever members of the class are reading in other contexts.  Along the way we will discuss English translations of the Bible; the process of canonization; textual history; and the long trail of interpretive approaches, ancient to contemporary.  Our text will be the New Oxford Annotated Bible, 5th ed.  All are welcome.  No previous knowledge of the Bible needed or assumed.

PLEASE NOTE: Professor John Parker will teach a course focusing on the New Testament in spring 2022.  Both courses will read the New Testament gospel of Mark, connecting the semesters, but you do not have to take the fall course as a prerequisite for the spring one.

ENGL 4998-001 - Distinguished Majors Program

R 03:30PM-06:00PM (New Cabell 111)
Mary Kuhn

Directed research leading to completion of an extended essay to be submitted to the Honors Committee.

ENGL 5559-001 - Violence and Possession, Medieval to Renaissance

TR 12:30PM-01:45PM (Bryan 233)
Dan Kinney

In this course we will study the expansionist foundation-projects set out and explored in a range of medieval and Renaissance genres, Beowulf to El Cid on to Henry V and beyond, winding up with the freelance imperialism of Robinson Crusoe and his followers. Other texts to examine  include Machiavelli's The Prince, the anonymous Famous Victories of Henry V, select essays of Bacon, and select books of Paradise Lost. One short, one longer essay, regular class participation, and a final exam.

ENGL 5559-002 - Lyric and Lyric Theory

TR 02:00PM-03:15PM (Brooks 103)
Elizabeth Fowler

So much of the most brilliant poetry in English is brief, intricate, emotional, musical, and written between the thirteenth and seventeenth centuries.  We’ll study Middle English to Early Modern verse (amorous, comic, elegiac, devotional, etc.), refining our sense of what language can do in its most intense, witty, ornate, gorgeous, and sweet moments. We’ll consider phenomenological approaches to many brief texts, consider them as part of the built environments of their uses, think of them as scripts for experiences we might define, notice their sensory overload and their epistemological orientation. We’ll test important strands of current lyric theory against this material, wondering whether we can revise or challenge what scholars of the 19th and 20th centuries are saying. You’ll become a skillful “close reader,” get some experience with researching material culture and entangling that in your literary criticism, and work out some tentative theoretical positionings for yourself. We’ll read these texts in their original language(s), but there is no prerequisite. Beginners at the graduate level welcome as well as intrepid and devoted undergraduates ready to roll up their sleeves.

ENGL 5700-001 - Contemporary African-American Literature

TR 08:00AM-09:15AM (Bryan 233)
Lisa Woolfork

This seminar uses the concept of time as a foundation for exploring selected works of contemporary African American Literature. Time is a useful representational concept in so far as it allows for a wide-ranging assessment of literary and cultural tropes. Time is a noun and a verb; it is the basis for history. It can be on our side or we can lack what seems sufficient.  It can heal all wounds or it can be a wound itself. These are the types of questions that will be used as a beginning for larger and evolving conversations about the works listed below. The course is also committed to helping students develop their own research agenda through formation of a culminating seminar paper and cultivate pedagogic techniques using the discussion-leading portion.

ENGL 5810-001 - Books as Physical Objects

MW 11:00AM-12:15PM (Bryan 233)
David Vander Meulen

We know the past chiefly through artifacts that survive, and books are among the most common of these objects. Besides conveying a text, each book also contains evidence of the circumstances of its manufacture.  In considering what questions to ask of these mute objects, this course might be considered the "archaeology of printing"—that is, the identification, description, and interpretation of printed artifacts surviving from the past five centuries, as well as exploration of the critical theory that lies behind such an approach to texts. With attention to production processes, including the operation of the hand press, it will investigate ways of analyzing elements such as paper, typography, illustrations, binding, and organization of the constituent sections of a book.  The course will explore how a text is inevitably affected by the material conditions of its production and how an understanding of the physical processes by which it was formed can aid historical research in a variety of disciplines, not only those that treat verbal texts but also those that deal with printed music and works of visual art.  The class will draw on the holdings of the University Library's Special Collections Department, as well as on its Hinman Collator (an early version of the one at the CIA).  Open to graduate students and advanced undergraduates.

ENGL 5830 - Introduction to World Religions, World Literatures: Augustine of Hippo

TR 09:30AM-10:45AM (New Cabell 232)
Kevin Hart
Cross-listed with RELC 3790, ENGL 3515.

St. Augustine (354-430) is certainly the most important writer in early Christianity and his influence, both literary and theological, has been varied, intense, and extensive. This African writer composed an immense oeuvre, including personal testimony, philosophical dialogues, scriptural commentary, thought about God, ecclesial controversy, letters, and sermons, while also, for much of his life, being Bishop of the town of Hippo (near modern Annaba, Algeria). His work marks much medieval literature, the theory of signs, our understanding of history, and rhetoric, as well as medieval and modern concepts of human selfhood and the nature of God.

In this seminar we shall read a rich selection of Augustine’s writings, paying special attention to how he interprets Scripture, what he thinks we are doing when reading texts, what he says about prayer and seeing God, about Christian love, and what he thinks about the human relationship with the divine.

ENGL 5831-001 - Proseminar in World Religions, World Literatures

F 02:00PM-02:50PM
Elizabeth Fowler

This one-credit, pass/fail seminar meets online most Fridays at 2 for an hour and brings together students from many departments and disciplines who are interested in the intersections between religion and literature in their work. All are welcome, MAs and PhDs; our syllabus is student-driven and often invites guests from around the university, offers a place to bring in objects of study (following our rule of fewer than 10 pages of reading per session), and is ongoing from semester to semester, giving a home to scholars who prize comparatism, lack of boundaries, and warm collegiality. Judaism, Islam, Christianity, Buddhism, Zoroastrianism, French, Spanish, Arabic, English, more--it’s all in our purview.  Meets together with RELG 5821, its Religious Studies counterpart. This is home base for the master’s program in World Religions, World Literatures as well as for other graduate students whose work makes it a touchstone. Write Elizabeth Fowler for more information: fowler@virginia.edu.

ENGL 5900-001 - Counterpoint Seminar

TR 12:30PM-01:45PM (Cocke 101)
Cristina Griffin

The “Counterpoint Seminar” is a hands-on, practical seminar designed to help you think like a teacher. In this course we juxtapose two sometimes dissonant fields of study: literary studies and pedagogy. During the semester you will consider how to combine your skills developed in previous literature classes with your emerging knowledge about pedagogy. I recognize that seminar members come to this course with different levels of familiarity with literary theory, culturally responsive pedagogy, and antiracist literature instruction. Our seminar will enable each member to increase fluency with these critical teaching skills. We will read literary texts that are frequently taught in the high school English classroom and practice applying pedagogical strategies that reflect best practices in English education. We will also read selections from pedagogical and theoretical texts to improve your ability to help students of different reading levels access rich, difficult texts and achieve depth and complexity in their textual interpretations. There will be time in this course to deepen your knowledge and reflect on your assumptions about education and yourself as an educator.


Writing and Rhetoric

ENWR 1505 - Writing and Critical Inquiry: The Stretch Sequence (9 sections)

Offers a two-semester approach to the First Writing Requirement. This sequence allows students to take more time, in smaller sections and with support from the Writing Center, practicing and reinforcing the activities that are central to the first-year writing course. Like ENWR 1510, ENWR 1505-06 approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

ENWR 1505-001 - Writing about Culture/Society
MW 03:30PM-04:45PM (New Cabell 042)
Claire Chantell
ENWR 1505-002 - Writing about Culture/Society
MW 02:00PM-03:15PM (New Cabell 042)
Claire Chantell
ENWR 1505-003 - Writing about Culture/Society
Words and Images: Writing with/about Photos
TR 09:30AM-10:45AM (Bryan 203)
Patricia Sullivan
ENWR 1505-004 - Writing about Culture/Society
TR 11:00AM-12:15PM (Bryan 203)
Words and Images: Writing with/about Photos
Patricia Sullivan
ENWR 1505-005 - Writing about Identities
TR 11:00AM-12:15PM (New Cabell 042)
Kate Kostelnik
ENWR 1505-006 - Writing about Culture/Society
TR 02:00PM-03:15PM (New Cabell 042)
David Coyoca
ENWR 1505-007 - Writing about Identities
TR 12:30PM-01:45PM (New Cabell 042)
Kate Kostelnik
ENWR 1505-008 - Writing about Culture/Society
TR 02:00PM-03:15PM (Bryan 334)
Amber McBride
ENWR 1505-009 - Writing about Culture/Society
TR 03:30PM-04:45PM (Bryan 334)
Amber McBride

ENWR 1510 - Writing and Critical Inquiry (70+ sections)

Approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

ENWR 1510-001 - Writing about Culture/Society

MWF 09:00AM-09:50AM (Bryan 332)

ENWR 1510-002 - Writing about Culture/Society

MWF 11:00AM-11:50AM (Bryan 332)

ENWR 1510-003 - Writing about Culture/Society

TR 02:00PM-03:15PM (New Cabell 056)

ENWR 1510-004 - Writing and Community Engagement

MWF 09:00AM-09:50AM (Bryan 312)

ENWR 1510-005 - Writing about Culture/Society

TR 05:00PM-06:15PM (Bryan 332)

ENWR 1510-006 - Writing about Science & Tech

MWF 11:00AM-11:50AM (Bryan 310)

ENWR 1510-007 - Writing as Multilingual Writers

MWF 11:00AM-11:50AM (Bryan 312)
Matthias Maunsell

ENWR 1510-008 - Writing about the Arts

MWF 09:00AM-09:50AM (New Cabell 044)

ENWR 1510-009 - Writing about Identities

MW 03:30PM-04:45PM (Bryan 310)
Devin Donovan

ENWR 1510-010 - Writing about Science & Tech

TR 09:30AM-10:45AM (Shannon 107)
Cory Shaman

ENWR 1510-011 - Writing and Community Engagement

MWF 11:00AM-11:50AM (Bryan 334)

ENWR 1510-012 - Writing about Culture/Society

MWF 10:00AM-10:50AM (New Cabell 044)
Jon D'Errico

ENWR 1510-014 - Writing about Culture/Society

MW 03:30PM-04:45PM (Bryan 332)

ENWR 1510-015 - Writing as Multilingual Writers

MWF 12:00PM-12:50PM (Bryan 312)
Matthias Maunsell

ENWR 1510-016 - Writing about the Arts

TR 09:30AM-10:45AM (Bryan 312)
Charity Fowler

ENWR 1510-017 - Writing about Identities

MW 02:00PM-03:15PM (Bryan 310)
Devin Donovan

ENWR 1510-018 - Writing about Culture/Society

MWF 09:00AM-09:50AM (Bryan 334)

ENWR 1510-019 - Writing and Community Engagement

TR 05:00PM-06:15PM (Bryan 334)

ENWR 1510-020 - Writing about Identities

MWF 11:00AM-11:50AM (Bryan 330)

ENWR 1510-022 - Writing about Identities

MWF 12:00PM-12:50PM (Bryan 332)

ENWR 1510-023 - Writing about Culture/Society

MW 05:00PM-06:15PM (Bryan 312)

ENWR 1510-024 - Writing about Culture/Society

MWF 12:00PM-12:50PM (New Cabell 036)

ENWR 1510-025 - Writing about Culture/Society

TR 08:00AM-09:15AM (Bryan 310)

ENWR 1510-026 - Writing about Digital Media

MW 02:00PM-03:15PM (Bryan 330)

ENWR 1510-027 - Writing about Culture/Society

MW 05:00PM-06:15PM (Bryan 310)

ENWR 1510-028 - Writing about Culture/Society

MWF 01:00PM-01:50PM (Bryan 330)

ENWR 1510-029 - Writing about Culture/Society

MW 03:30PM-04:45PM (Bryan 312)

ENWR 1510-030 - Writing about Culture/Society

MW 05:00PM-06:15PM (... ...)

ENWR 1510-031 - Writing and Community Engagement

MWF 09:00AM-09:50AM (New Cabell 056)

ENWR 1510-032 - Writing about Culture/Society

TR 09:30AM-10:45AM (Bryan 334)
Lindgren Johnson

ENWR 1510-033 - Writing about Science & Tech

TR 08:00AM-09:15AM (New Cabell 044)

ENWR 1510-034 - Writing about the Arts

MWF 01:00PM-01:50PM (New Cabell 056)

ENWR 1510-035 - Writing about Culture/Society

MWF 11:00AM-11:50AM (New Cabell 044)
Jon D'Errico

ENWR 1510-036 - Writing about the Arts

MWF 12:00PM-12:50PM (New Cabell 183)

ENWR 1510-037 - Writing about Culture/Society

MWF 10:00AM-10:50AM (Bryan 334)

ENWR 1510-038 - Writing about the Arts

TR 08:00AM-09:15AM (Bryan 334)

ENWR 1510-039 - Writing about the Arts

TR 05:00PM-06:15PM (Bryan 330)

ENWR 1510-040 - Writing about the Arts

TR 12:30PM-01:45PM (Bryan 330)
Charity Fowler

ENWR 1510-041 - Writing about Identities

MWF 01:00PM-01:50PM (Bryan 334)

ENWR 1510-042 - Writing about the Arts

MWF 01:00PM-01:50PM (Bryan 312)

ENWR 1510-043 - Writing about the Arts

TR 09:30AM-10:45AM (Bryan 310)

ENWR 1510-044 - Writing about Culture/Society

MWF 10:00AM-10:50AM (Bryan 332)

ENWR 1510-045 - Writing and Community Engagement

MWF 10:00AM-10:50AM (Bryan 330)

ENWR 1510-046 - Writing and Community Engagement

MWF 10:00AM-10:50AM (New Cabell 036)

ENWR 1510-047 - Writing about Culture/Society

MW 02:00PM-03:15PM (Bryan 312)

ENWR 1510-048 - Writing about Culture/Society

MWF 02:00PM-02:50PM (Bryan 332)

ENWR 1510-049 - Writing about Identities

TR 08:00AM-09:15AM (Bryan 332)

ENWR 1510-050 - Writing about Culture/Society

TR 08:00AM-09:15AM (Bryan 312)

ENWR 1510-050 - Writing about Culture/Society

TR 08:00AM-09:15AM (Bryan 312)

ENWR 1510-051 - Writing about Culture/Society

TR 05:00PM-06:15PM (Bryan 312)
Keith Driver

ENWR 1510-052 - Writing and Community Engagement

TR 12:30PM-01:45PM (Bryan 310)
Kevin Smith

ENWR 1510-053 - Writing about Culture/Society

MWF 09:00AM-09:50AM (Bryan 330)

ENWR 1510-054 - Writing about Culture/Society

TR 11:00AM-12:15PM (Bryan 334)
Lindgren Johnson

ENWR 1510-056 - Writing about the Arts

TR 08:00AM-09:15AM (New Cabell 056)

ENWR 1510-057 - Writing about Culture/Society

TR 09:30AM-10:45AM (Bryan 332)

ENWR 1510-058 - Writing about Culture/Society

TR 09:30AM-10:45AM (Bryan 330)

ENWR 1510-059 - Writing about Culture/Society

MWF 12:00PM-12:50PM (Bryan 334)

ENWR 1510-060 - Writing about Culture/Society

MW 03:30PM-04:45PM (New Cabell 036)

ENWR 1510-061 - Writing about Science & Tech

TR 11:00AM-12:15PM (Shannon 107)
Cory Shaman

ENWR 1510-062 - Writing about Culture/Society

TR 02:00PM-03:15PM (New Cabell 064)
Keith Driver

ENWR 1510-063 - Writing and Community Engagement

TR 12:30PM-01:45PM (Shannon 109)
Anastatia Curley

ENWR 1510-064 - Writing about the Arts

MW 05:00PM-06:15PM (Astronomy 265)

ENWR 1510-066 - Writing about Culture/Society

TR 03:30PM-04:45PM (Bryan 312)

ENWR 1510-067 - Writing about the Arts

MWF 11:00AM-11:50AM (New Cabell 056)

ENWR 1510-068 - Writing about Culture/Society

TR 11:00AM-12:15PM (Bryan 310)
Steph Ceraso

ENWR 1510-069 - Writing about Identities

MWF 12:00PM-12:50PM (Bryan 330)

ENWR 1510-070 - Writing about Culture/Society

TR 06:30PM-07:45PM (Bryan 312)
Keith Driver

ENWR 1510-071 - Writing and Community Engagement

MW 06:30PM-07:45PM (Bryan 310)

ENWR 1510-072 - Writing about the Arts

TR 12:30PM-01:45PM (Bryan 332)

ENWR 1510-073 - Writing about Culture/Society

TR 08:00AM-09:15AM (Bryan 330)

ENWR 1510-074 - Writing and Community Engagement

MW 03:30PM-04:45PM (Bryan 330)

ENWR 1510-075 - Writing about Identities

TR 12:30PM-01:45PM (Bryan 334)

ENWR 1510-076 - Writing and Community Engagement

TR 02:00PM-03:15PM (Bryan 310)
Kevin Smith

ENWR 1510-077 - Writing and Community Engagement

TR 03:30PM-04:45PM (Bryan 310)

ENWR 1510-078 - Writing about Culture/Society

TR 06:30PM-07:45PM (Bryan 330)

ENWR 1520 - Writing & Critical Inquiry: Community Engagement

ENWR 1520 shares the same writing goals and approaches as ENWR 1510, but focuses on community engagement in pursuit of those goals. In ENWR 1520, students contribute to a conversation and learn to position their ideas, research, and experiential learning in community engaged projects. Students should expect to spend time outside the classroom interacting with community partners, either in person or virtually.

001 - Writing about Housing Equity

TR 12:30PM-01:45PM (Bryan 312)
Kate Stephenson

Why do we live where we do? How does housing impact our access to education, food, medical care, and other resources? What can the local built environment tell us about access to housing? Why are some people homeless? What is affordable housing and why is there so little of it? By partnering with The Haven and using different types of writing, including journal entries, forum posts, peer reviews, and formal papers, we will explore topics like homelessness, affordable housing, privilege, food insecurity, the eviction crisis, systems of power, and community engagement.  We will also work with The Haven Writer's Circle to produce an online zine at the end of the semester.

002 - Writing about Food Justice

TR 02:00PM-03:15PM (Bryan 312)
Kate Stephenson

Why do we eat what we eat? Do poor people eat more fast food than wealthy people? Why do men like to eat steak more than women? Why are Cheetos cheaper than cherries? Do you have to be skinny to be hungry? By partnering with a local community garden and using different types of writing, including journal entries, forum posts, peer reviews, and formal papers, we will explore topics like hunger stereotypes, privilege, food insecurity, food production, and community engagement.  

ENWR 1530 - Writing & Critical Inquiry Lecture

ENWR 1530 shares the same writing goals and approaches as ENWR 1510. Each 1530 student attends two weekly lectures and one weekly discussion section meeting, and the course instructors reflect a variety of academic backgrounds. Students will analyze, practice, and experiment with genres of academic inquiry.
Writing Your Way In, Writing Your Way Out
TR 05:00PM-05:50PM (Clark 107)
Victor Luftig

ENWR 2510 - Advanced Writing Seminar (5 sections)

001 - Writing about Identities
Writing Regret and Repair
TR 03:30PM-04:45PM (New Cabell 183)
Tamika Carey
If the old saying is true and everyone actually makes mistakes, then why are apologies so hard to write and why are some apologies more easily dismissed than others? This section of ENWR 2510 explores these questions about regret and repair from an identity-based perspective to strengthen your methods for writing. Said differently, we will consider how class, race, gender, and other identity markers influence public perceptions of error and impression management. We will also investigate social expectations of how regret should be expressed. In doing so, we will pursue the goal of this course, which is to cultivate and refine your analytical reading techniques, invention processes, composing practices, and strategies for revision and publication. 
002 - Writing about Identities
Writing Regret and Repair
TR 02:00PM-03:15PM (New Cabell 183)
Tamika Carey
If the old saying is true and everyone actually makes mistakes, then why are apologies so hard to write and why are some apologies more easily dismissed than others? This section of ENWR 2510 explores these questions about regret and repair from an identity-based perspective to strengthen your methods for writing. Said differently, we will consider how class, race, gender, and other identity markers influence public perceptions of error and impression management. We will also investigate social expectations of how regret should be expressed. In doing so, we will pursue the goal of this course, which is to cultivate and refine your analytical reading techniques, invention processes, composing practices, and strategies for revision and publication. 
003 - Writing and Community Engagement
MWF 10:00AM-10:50AM (Astronomy 265)
Devin Donovan
004 - Writing about Culture & Society
TR 02:00PM-03:15PM (Bryan 330)
Charity Fowler
006 - Writing and Community Engagement
M 06:00PM-08:30PM (Shannon 108)
Stephen Parks

ENWR 2520 - Special Topics in Writng (4 sections)

003 - Global Advocacy, Democracy, and Public Narrative
T 06:00PM-08:30PM (Shannon 108)
Stephen Parks
004 - Science & Medical Communications
MWF 01:00PM-01:50PM (Shannon 109)
Kiera Allison
005 - Writing about the Nonhuman: Animals to Artificial Intelligences
TR 02:00PM-03:15PM (New Cabell 594)
Patricia Sullivan
This course explores the relationship between humans and other beings or forms of intelligence especially animals and artificial intelligences. Students will consider the ways in which we use writing to represent our observations about, knowledge of, and feelings about these different nonhuman agents. In particular, we will address questions of personification, anthropomorphism and anthropocentrism, personhood, the nature of the human, and posthuman collectives. As a class, we will read and discuss stories, poems, nonfiction essays, scholarly research and the occasional science fiction film or scientific documentary. Students will be invited to compose a variety of texts -- autobiographical, analytical, argumentative, exploratory, reflective, speculative -- and conduct some original research. Through workshops, peer reviews, and individual conferences student will develop their awareness of their writing processes, the rhetorical options available to them and their resources as writers in and beyond academic contexts.
006 - Audible Writing: Writing for and with Sound
MWF 01:00PM-01:50PM (Shannon 108)
Jon D'Errico

ENWR 2700 - News Writing (2 sections)

TR 09:30AM-10:45AM (New Cabell 268)
TR 08:00AM-09:15AM (New Cabell 268)

ENWR 2800 - Public Speaking (2 sections)

001 - MWF 10:00AM-10:50AM (Shannon 108)
Kiera Allison
002 - MWF 09:00AM-09:50AM (Shannon 108)
Kiera Allison

ENWR 3500-001 - Vegan Writing

TR 02:00PM-03:15PM (New Cabell 115)
Lindgren Johnson

ENWR 3620-001 - Tutoring Across Cultures

TR 03:30PM-04:45PM (Shannon 107)
Kate Kostelnik

In this course, we’ll look at a variety of texts from academic arguments, narratives, and pedagogies, to consider what it means to write, communicate, and learn across cultures. Topics will include contrastive rhetorics, world Englishes, rhetorical listening, and tutoring multilingual writers. A service-learning component will require students to virtually tutor students in sections of ENWR1506, my first-year writing courses. We will discuss pedagogies and practical, strengths-based strategies in working with multi-lingual learners on their writing; tutor first-years; and create writing projects that convey learning from these experiences. While the course will specifically prepare students to tutor multilingual writers, these skills are adaptable and applicable across disciplines and discourses. Our techniques and pedagogies will also be applicable to native-speakers. Basically, students will learn how to use dialogic engagement to support collaboration and conversation across cultures. Self-designed final writing projects will give students from various majors—education, public policy, commerce, social sciences, and STEM—the opportunity to combine their specific discourse knowledge with our course content. Additionally, students who successfully complete the course are invited to apply to work on the UVa writing center.  

ENWR 3640-001 - Writing with Sound

TR 02:00PM-03:15PM (Bryan 328)
Steph Ceraso

ENWR 3660-001 - Travel Writing

TR 09:30AM-10:45AM (Shannon 108)
Kate Stephenson

Why is everyone suddenly going to Iceland? Why do we travel? What is the difference between a traveler and a tourist?  Using different types of writing, including journal entries, forum posts, peer reviews, and formal papers, we will explore the world of travel writing.  Since we all write best about subjects and ideas we are passionate about, we will work together to generate interesting questions about the role of travel in our culture, as well as about specific books and essays. We will also investigate the world of tourism and consider the many ethical issues that arise in the exploration of our modern world. Throughout the course, we will ponder questions like:

  • What is the relationship between travel writer, reader, and inhabitant? How can we use writing to navigate the relationship between writer, reader, inhabitant, and place?

  • What is the role of “outsider” in travel writing?

  • How does travel writing encourage us to see ourselves differently?

  • How can we use the very best of travel writing—the sense of discovery, voice, narrative suspense—in other forms of writing, including academic essays?

  • Can travel writing evoke political and social change?

As the semester unfolds, I hope we will revise and refine our views, paying close attention to how we put words together to write powerfully and engagingly about travel.


ENWR 3665-001 - Writing about the Environment

TR 02:00PM-03:15PM (New Cabell 068)
Cory Shaman

ENWR 3750-001 - Rhetoric, Propaganda, and Conspiracy Theories

TR 03:30PM-04:45PM (Claude Moore Nursing Building 1110)
Kenny Fountain

Political propaganda often seeks to persuade through conspiracy theories that create suspicion and fear based on group identity and bigotry (racism, antisemitism, xenophobia). This course will study the rhetorical and technological strategies that characterize political conspiracy-driven propaganda of the 20th and 21st century. Though our exploration focuses primarily on American instances from the past 25 years, we will begin with the state-sanctioned conspiracy theories that fueled Nazi propaganda. Because no political ideology is immune to conspiracy belief, we will analyze partisan theories from the political left and right, including UFO belief, 9/11 truthers, the QAnon myth, and Covid-19 mis-/disinformation.


By examining the arguments, evidence, images, myths, and tropes that animate propaganda and conspiracy theories, we can identify how they are circulated to inflame our emotions, exploit our prejudices, and bias our decision making. More than just a historical survey or conceptual overview, this course is designed to strengthen your ability to recognize the dominant visual, verbal, and technological techniques used in propaganda campaigns, to distinguish doubtful conspiracy theories from actual political coverups, and to evaluate the major components (claims, evidence, reasoning, imagery) of political rhetoric.

ENWR 3900-001 - Career-Based Writing/Rhetoric

MW 03:30PM-04:45PM (Astronomy 265)
John T. Casteen IV
Develops proficiency in a range of stylistic and persuasive effects. The course is designed for students who want to hone their writing skills, as well as for students preparing for careers in which they will write documents for public circulation. Students explore recent research in writing studies. In the workshop-based studio sessions, students propose, write, and edit projects of their own design.


Undergraduate Courses