Undergraduate Course Descriptions | Fall 2022

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. 

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.

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.

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

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.

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.

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.

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.

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. 

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.

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

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.

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.

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

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.

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 Handkerchief; Twelfth Night and She's the Man; and Marlowe's Jew of Malta, The 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?

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 Venice, Macbeth, King 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.

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.

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.

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.

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.

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.

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.

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.

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. 

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. 

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.

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 Tales, Sir 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. 

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.

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.

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

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

Discussion sections TBD.

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

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.

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

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

Cross-listed with RELC 3790, ENGL 5830.

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.

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.

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.

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

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.

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

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

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.

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.

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

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. 

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.

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.

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

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. 

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.

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.

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.

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.  

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.

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.

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.  

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

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.

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.

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.

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.” 

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

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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)
TBD

ENWR 1510-002 - Writing about Culture/Society

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

ENWR 1510-003 - Writing about Culture/Society

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

ENWR 1510-004 - Writing and Community Engagement

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

ENWR 1510-005 - Writing about Culture/Society

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

ENWR 1510-006 - Writing about Science & Tech

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

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)
TBD

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)
TBD

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)
TBD

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)
TBD

ENWR 1510-019 - Writing and Community Engagement

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

ENWR 1510-020 - Writing about Identities

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

ENWR 1510-022 - Writing about Identities

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

ENWR 1510-023 - Writing about Culture/Society

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

ENWR 1510-024 - Writing about Culture/Society

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

ENWR 1510-025 - Writing about Culture/Society

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

ENWR 1510-026 - Writing about Digital Media

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

ENWR 1510-027 - Writing about Culture/Society

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

ENWR 1510-028 - Writing about Culture/Society

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

ENWR 1510-029 - Writing about Culture/Society

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

ENWR 1510-030 - Writing about Culture/Society

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

ENWR 1510-031 - Writing and Community Engagement

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

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)
TBD

ENWR 1510-034 - Writing about the Arts

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

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)
TBD

ENWR 1510-037 - Writing about Culture/Society

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

ENWR 1510-038 - Writing about the Arts

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

ENWR 1510-039 - Writing about the Arts

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

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)
TBD

ENWR 1510-042 - Writing about the Arts

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

ENWR 1510-043 - Writing about the Arts

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

ENWR 1510-044 - Writing about Culture/Society

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

ENWR 1510-045 - Writing and Community Engagement

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

ENWR 1510-046 - Writing and Community Engagement

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

ENWR 1510-047 - Writing about Culture/Society

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

ENWR 1510-048 - Writing about Culture/Society

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

ENWR 1510-049 - Writing about Identities

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

ENWR 1510-050 - Writing about Culture/Society

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

ENWR 1510-050 - Writing about Culture/Society

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

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)
TBD

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)
TBD

ENWR 1510-057 - Writing about Culture/Society

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

ENWR 1510-058 - Writing about Culture/Society

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

ENWR 1510-059 - Writing about Culture/Society

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

ENWR 1510-060 - Writing about Culture/Society

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

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)
TBD

ENWR 1510-066 - Writing about Culture/Society

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

ENWR 1510-067 - Writing about the Arts

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

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)
TBD

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)
TBD

ENWR 1510-072 - Writing about the Arts

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

ENWR 1510-073 - Writing about Culture/Society

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

ENWR 1510-074 - Writing and Community Engagement

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

ENWR 1510-075 - Writing about Identities

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

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)
TBD

ENWR 1510-078 - Writing about Culture/Society

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

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.  

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.  

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

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

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